OSM : Les créatures fantastiques

by Rédaction PAN M 360

Plongez dans l’univers musical des créatures fantastiques imaginées par Debussy, Sierra et Stravinsky. Ce concert sera pour vous l’occasion de vivre un moment inédit où les dragons, les licornes et l’Oiseau de feu prendront vie sous vos yeux grâce aux illustrations réalisées en direct par Frédéric Ellis.

Immerse yourself in the musical universe of the fantastic creatures imagined by Debussy, Sierra and Stravinsky. This concert will give you the opportunity to experience a unique moment in which dragons, unicorns and the Firebird will come to life before your very eyes, thanks to live illustrations by Frédéric Ellis.

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Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

classique / jeunesse

OSM : Les créatures fantastiques – Matinées scolaires

by Rédaction PAN M 360

Plongez dans l’univers musical des créatures fantastique imaginées pas Debussy, Sierra et Stravinsky. Ce concert sera pour vous l’occasion de vivre un moment inédit où dragons, faune et oiseau de feu prendront vie sous vos yeux grâce aux illustrations réalisées en direct par Frédéric Ellis.

Immerse yourself in the musical universe of the fantastic creatures imagined by Debussy, Sierra and Stravinsky. This concert will give you the opportunity to experience a unique moment in which dragons, fauns and firebirds will come to life before your very eyes, thanks to live illustrations by Frédéric Ellis.

POUR INSCRIRE VOTRE GROUPE, C’EST ICI!

Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

cinéma / classique

OSM : Les dents de la mer de Spielberg

by Rédaction PAN M 360

La superproduction estivale JAWS de Steven Spielberg, dont la musique du compositeur John Williams a été récompensée par un Oscar, se transforme en expérience inoubliable lorsque l’orchestre l’accompagne en direct ! Joignez-vous à l’OSM qui interprète cette musique de film incontournable évoquant la terreur pure.

Steven Spielberg’s summer blockbuster JAWS, with its Oscar-winning score by composer John Williams, becomes an unforgettable experience when the orchestra accompanies it live! Join the OSM as they perform this must-see film score evoking pure terror.

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Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

classique / Création / Modern Classical

OSM : Concert Gala des Prix Azrieli de musique

by Rédaction PAN M 360

Participez à un événement d’importance en assistant à la création des œuvres des quatre lauréats du Prix Azrieli de musique 2024. Évocation des grands paysages canadiens, culture préhispanique mexicaine, livre des Psaumes et philosophie juive : autant de sources d’inspiration et d’esthétiques diverses à découvrir et à apprécier à travers la musique de ces brillants compositeurs. Organisé tous les deux ans, le Concours Azrieli récompense l’excellence, l’engagement et la créativité artistique.

Take part in a major event by witnessing the creation of works by the four winners of the 2024 Azrieli Music Prize. Evocation of the great Canadian landscapes, Mexican pre-Hispanic culture, the Book of Psalms and Jewish philosophy: so many sources of inspiration and diverse aesthetics to discover and appreciate through the music of these brilliant composers. Held every two years, the Azrieli Competition rewards excellence, commitment and artistic creativity.

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Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

classique / période romantique

OSM : Les mystérieuses Variations Enigma d’Elgar

by Rédaction PAN M 360

Karen Gomyo, violoniste appréciée pour l’intensité de son jeu, interprétera le Concerto de Dvorák, une œuvre puissante qui puise aux sources des danses de Bohème. Quant aux Variations Enigma d’Elgar, elles contiennent deux énigmes à résoudre : l’origine du thème n’a jamais été révélée par le musicien, et chaque variation contient en en-tête les initiales d’un proche dont Elgar brosse le portrait, parodiant parfois le style d’un compositeur germanique.

Karen Gomyo, a violinist renowned for the intensity of her playing, will perform Dvorák’s Concerto, a powerful work that draws on the sources of Bohemian dances. As for Elgar’s Enigma Variations, they contain two enigmas to be solved: the origin of the theme has never been revealed by the musician, and each variation contains the initials of a relative whose portrait Elgar portrays, sometimes parodying the style of a German composer.

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Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

classique

OSM : France Beaudoin avec l’OSM en direct de la Maison symphonique

by Rédaction PAN M 360

Qu’est-ce qui arrive lorsqu’on donne carte blanche à France Beaudoin pour choisir des chansons significatives et réunir des artistes coup de cœur? On entre dans l’univers de celle qui accorde ce privilège à de si nombreuses personnalités! Sur scène avec l’OSM, ses musiciens, ses choristes et plusieurs invités, elle nous fera certainement passer un moment inoubliable : et qui sait, l’OSM lui préparera certainement une ou deux surprises.

What happens when France Beaudoin is given carte blanche to choose significant songs and bring together artists she has fallen in love with? We enter the world of the woman who grants this privilege to so many personalities! On stage with the OSM, her musicians, backing singers and several guests, she’s sure to give us an unforgettable experience: and who knows, the OSM will certainly be preparing a surprise or two for her.

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Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

Baroque / classique / latino / musique contemporaine

OSM : Vivaldi et Piazzolla d’une saison à l’autre

by Rédaction PAN M 360

De Venise à Buenos Aires, le baroque flamboyant de Vivaldi et le tango argentin de Piazzolla dialoguent au fil des saisons. Vivaldi déploie toute son ingéniosité pour mettre en valeur les sonorités de l’orchestre grâce à une musique suggestive et pittoresque alors que Piazzolla se livre à une réflexion sur les quatre saisons de la vie en Argentine, tout en adressant quelques clins d’œil à son précurseur vénitien.

From Venice to Buenos Aires, Vivaldi’s flamboyant baroque and Piazzolla’s Argentinian tango converse through the seasons. Vivaldi deploys all his ingenuity to enhance the orchestra’s sonorities with suggestive, picturesque music, while Piazzolla reflects on the four seasons of life in Argentina, with a few nods to his Venetian precursor.

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Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

classique / période romantique / Piano

OSM : Payare dirige Berlioz et Beethoven

by Rédaction PAN M 360

Le brillant Concerto pour piano no 1 de Beethoven répond encore aux canons esthétiques du classicisme; toutefois, cette partition enjouée est entrecoupée d’accents typiquement beethovéniens annonciateurs d’un style très personnel. Depuis sa création, la Symphonie fantastique de Berlioz n’a cessé de susciter l’enthousiasme du public. Elle demeure l’une des œuvres phares du répertoire symphonique tant par son originalité que par la variété et la puissance de son orchestration.

Beethoven’s brilliant Piano Concerto No. 1 still conforms to the aesthetic canons of classicism; however, this playful score is interspersed with typically Beethovenian accents heralding a highly personal style. Since its premiere, Berlioz’s Symphonie fantastique has never ceased to arouse public enthusiasm. It remains one of the leading works of the symphonic repertoire, as much for its originality as for the variety and power of its orchestration.

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Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

classique / musique de chambre / période romantique

Virée classique de l’OSM | Virtuosity, Elegance and Listening from Fauré to Chausson

by Alexandre Villemaire

The PAN M 360 team is very present at the Virée classique, presented by the OSM. In the field, at free activities and indoor concerts, Alain Brunet, Alexis Desrosiers-Michaud and Alexandre Villemaire report on what they’ve seen and heard at events presented in Montreal until August 18.

After performing Saint-Saëns’ Concerto No. 5 with the OSM, pianist Cédric Tiberghien returned to the stage for a second concert. As Marianne Dugal, associate concertmaster of the OSM, explained, the performer deserves a medal for his stamina, given the complexity and virtuosity of the two works, especially Ernest Chausson’s Concert op. 21, which is of titanic pianistic proportions. The central work of this concert, programmed in the intimate Cinquième salle, is distinguished by its unusual instrumentation: piano, violin and string quartet. Halfway between a chamber music piece and a concerto, the form does not appear disproportionate or disparate to the ear, so fine is Chausson’s writing, giving pride of place to each of the players.

What is equally striking and captivating is the musical language deployed by the composer. Borrowing as much from French aesthetics as from Wagnerian language, the work is astonishingly organic, with movements featuring folk themes and dramatic chromaticism. In the purest spirit of a Wagner work, we’re on the edge of our seats to see – and hear – where the harmony is going. Tiberghien again stands out for his clear, precise playing, refined, energetic fingering and attentive listening to his playing partners, Dugal, (concertmaster), Alexander Read and Richard Zheng (violins), Victor Fournelle-Blain (viola) and Anna Burden (cello), who all gave solid performances.

The work was preceded by Debussy’s Sonate pour violoncelle et piano and Fauré’s Élégie, performed by Anna Burden with great elegance and intensity. The only slight drawback was that the balance of the amplified microphones was not equal according to the area occupied by the string players on stage, so that in the solo passages, the sound of Marianne Dugal and Anna Burden seemed muffled at times.

Publicité panam

classique / Moyen-Orient / Levant / Maghreb

Virée classique 2024 | OSM and Constantinople: Colourful Dialogues, a Conversation To Be Continued

by Alexandre Villemaire

The PAN M 360 team is very present at the Virée classique, presented by the OSM. In the field, at free activities and indoor concerts, Alain Brunet, Alexis Desrosiers-Michaud and Alexandre Villemaire report on what they’ve seen and heard at events presented in Montreal until August 18.

On paper, it was a premiere like no other. For the first time in its history, the Orchestre symphonique de Montréal welcomed a traditional music ensemble to the Maison symphonique for a joint concert. And not just any ensemble: Constantinople, a well-known and well-established presence on the Montreal and Quebec musical scene. The choice of Constantinople was an obvious one, since the ensemble’s identity and practice are, as its artistic director Kiya Tabassian reminds us, dialogue and cross-fertilization between musical universes. A vision also shared by Rafael Payare.

If we can say that there was indeed a dialogue, the concert we were treated to showed that the conversation, for its part, deserved to gain in depth. While we expected to hear and see interaction between the orchestra and Constantinople’s musicians, we were treated to a question-and-answer exchange in which Constantinople’s virtuoso interventions of Dimitrie Cantemir’s pieces were interspersed with excerpts from Grieg’s Peer Gynt suite, played with fervor and mastery by the OSM. Peer Gynt makes sense thematically, the eponymous character of Ibsen’s fairy tale embodying the figure of the traveler who, in the course of his tale, settles for a time in North Africa. Unfortunately, the interplay with the music, particularly in the “Anitra Dance” and the “Arabian Dance”, seemed more like a pastiche than an organic element.

Publicité panam

Virée classique 2024 – The Symphony of the Virée: Not So Amateurs After All

by Alexis Desrosiers-Michaud

Now a tradition, the Symphonie de la Virée is a concert bringing together amateur musicians of all ages who have been selected in advance. Rafael Payare leads the ensemble for the last work on the program.

This event is living proof that professionals do not have a monopoly on good musical product and that with a lot of passion and a little work, we can achieve a frankly convincing result. Let’s look beyond individual errors and small imbalances to look at the whole thing as a whole. It’s not because they are amateurs that they can’t make great music.

There is a cohesion that holds in this ensemble. Conductor Adam Johnson breathes a contagious energy. We feel the work of listening done in rehearsal; the violin and oboe solos have enough space for lyricism and expression. The sound is homogeneous and the dynamics are respected to the letter, as much in terms of nuances, phrasing and articulation.

As Payare takes the reins for the opening of the opera Nabucco, he proves what a great conductor he is and raises the bar. Like Johnson before him, he makes no compromises on anything. He pushes the audacity to take the coda at breakneck speed and the musicians respond.

In the future, don’t hesitate to go to the concert of the neighbor who plays in the Monday night band. There is a good chance that, for a handful of dollars, you will have a good time.

Publicité panam

classique

Virée classique de l’OSM | A Requiem of Contrasts

by Alexis Desrosiers-Michaud

The PAN M 360 team is very present at the Virée classique, presented by the OSM. Alain Brunet, Alexis Desrosiers-Michaud and Alexandre Villemaire report on what they saw and heard at the concerts presented in Montreal until August 18.

The Orchestre symphonique de Montréal and its choir were in top form for the first concert of the Virée classique weekend, in Guiseppe Verdi’s Requiem.

What’s striking from the outset is the respect and accuracy of the nuances, as indicated in the score; the “very soft” indications are almost imperceptible, and the “very loud” ones shatter the ceiling, to the point of literally vibrating the plexiglass on stage. On the other hand, when singing piano, consonants must be exaggerated, and both soloists and chorus lose the first consonants of words. Conversely, the consonants at the end of words are more sonorous.

The four soloists, including the tenor, Oreste Cosimo (forgotten in the program), sing not with the score in hand, but placed on a lectern. In this way, they can “play” their text. Mezzo-soprano Rihab Chaieb stands out in this respect, detaching herself from the score to interact with her counterparts, or staring at the audience to convey emotion.

The chorus is solid, fair and balanced. It sings loud enough to take its place in the din of the Dies Irae and the Tuba Mirum. In the Sanctus, however, the orchestra and choir are on two different levels. The orchestra is loud and festive, while the choir is restrained and angelic. This part, with 8 voices, should stand out more to perceive the various entries and avoid being swallowed up.

Photo credit: Antoine Saito

Publicité panam