classique / Contemporary / post-romantique

Tabea Zimmermann & Javier Perianes à la salle Bourgie

by Rédaction PAN M 360

Ces artistes d’exception sont de passage à Montréal dans le cadre d’une tournée internationale. Ils offrent un programme passionné autant que songeur, présentant des œuvres pour alto et piano s’échelonnant de 1849 à 1975, l’année de composition de la Sonate de Chostakovitch. Ce dernier a puisé dans ses ultimes ressources pour en achever l’écriture, un mois avant sa mort.

An international tour brings this outstanding chamber duo to Montréal. Their programme is both fiery and contemplative, spanning more than a century of music for viola and piano from 1849 to 1975. In that year, Shostakovich composed his Sonata, for which he drew upon his last ounces of strength in order to complete it one month before his death.

Programme

R. SCHUMANN Fantasiestücke, op. 73
BRAHMS Sonate pour alto et piano en mi bémol majeur, op. 120 n^o 2
BRITTEN Lachrymae, op. 48
CHOSTAKOVITCH Sonate pour alto et piano en do majeur, op. 147

Program

R. SCHUMANN Fantasiestücke, Op. 73
BRAHMS Viola Sonata in E-flat major, Op. 120, No. 2
BRITTEN Lachrymae, Op. 48
SHOSTAKOVICH Viola Sonata in C major, Op. 147

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Ce contenu provient de la salle Bourgie et est adapté par PAN M 360

Baroque / classique

Constantinople & Holland Baroque – Dialogos à la salle Bourgie

by Rédaction PAN M 360

Pour cette création inspirée de la rencontre historique entre François d’Assise et le sultan Malik al-Kâmil, Constantinople s’associe à l’un des ensembles de musique ancienne les plus audacieux d’Europe, Holland Baroque. Au cœur des Croisades, ce dialogue inattendu, empreint de respect et d’écoute, est devenu un symbole intemporel de paix et de compréhension. En mêlant traditions musicales anciennes et nouvelles, issues de l’Orient et de l’Occident, les deux ensembles font résonner cet héritage spirituel à travers un langage musical libre et novateur. Cette collaboration transcende les frontières, célèbre l’altérité, et invite les publics à vivre une traversée émouvante où la musique devient un pont entre les mondes, une célébration de notre humanité partagée.

For this creation inspired by the historic encounter between Francis of Assisi and Sultan Malik al-Kâmil, Constantinople joins forces with one of Europe’s most bold and imaginative early music ensembles, Holland Baroque. Amid the turmoil of the Crusades, this unexpected dialogue—marked by mutual respect and attentiveness—became a timeless symbol of peace and understanding. Blending ancient and contemporary musical traditions from both East and West, the two ensembles bring this spiritual legacy to life through a free and daring musical language. This collaboration transcends borders, celebrates otherness, and invites audiences on an emotional journey where music becomes a bridge between worlds—a celebration of our shared humanity.

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Ce contenu provient de la salle Bourgie et est adapté par PAN M 360

classique / conférence / période romantique

Poésie et musique dans les lieder de Schubert : une histoire intime à la salle Bourgie

by Rédaction PAN M 360

Quels poètes Schubert choisit-il ? Quels poèmes ont sa préférence ? Quels thèmes l’occupent davantage dans son parcours créateur ? Au cours de cette conférence, nous verrons que dans l’immense production de lieder de Franz Schubert (1797-1828), les relations entre poésie et musique jouent un rôle déterminant dans sa composition musicale et qu’elles orientent son travail. Il choisit souvent ses textes par nécessité intérieure, mû par un besoin d’exprimer sa vision du monde au sein du romantisme naissant, parfois aussi en fonction des événements de sa vie personnelle. Schubert va donc, à travers son choix de poèmes et de poètes, parvenir à dire « je » sous le couvert d’un autre.

What poets did Schubert choose? What poems was he drawn to? What themes did he return to time and time again in his compositional career? This lecture shows how the relationships between poetry and music play a crucial role in the vast catalogue of lieder by Franz Schubert (1797–1828), profoundly shaping the composer’s work. Schubert chose his texts because he was driven by an inner imperative, or because he felt the need to express his worldview within the budding Romantic movement, or sometimes even because of events in his personal life. Thus, Schubert successfully spoke in the first person through the poems that he chose, becoming the hidden “I” behind the poet’s “I” within his songs.

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LA CONFÉRENCE EST GRATUITE POUR LES MOINS DE 34 ANS ET LES MEMBRES DU MBAM!

Ce contenu provient de la salle Bourgie et est adapté par PAN M 360

Baroque / Classical / Classical Singing

Arion Baroque Orchestra: Il pianto di Maria: Tears of Joy

by Alexandre Villemaire

For the penultimate concert of its season, Arion Baroque Orchestra invited Montreal’s music-loving audience to immerse themselves in Baroque Italy—an Italy in all its “caricatured” glory, to borrow the artistic director’s words to the audience, where emotions are expressed in their raw, unfiltered form.

For it is indeed emotions—sorrow and pain, certainly, but also love, friendship, joy, and elation—that run through this program curated by harpsichordist and guest conductor Marie van Rhijn. A program that also celebrated women composers during this International Women’s Day weekend.

To convey the various emotions of these works, the spotlight was on the voice, featuring French contralto Anthea Pichanik. In the first part, which opened with Antonio Vivaldi’s cantata *Cessate, omai cessate*, the power of her voice captivated us, as did her embodied portrayal of this rejected lover lamenting his rejection by his Dorilla. Pichanik possesses a rich, brassy timbre in her mid-range, with full-bodied high and low notes, which were, however, sometimes lost in the orchestral mass and at certain phrase endings, yet she displayed a commanding stage presence and a grounded, committed performance. In the excerpt from Maria Margherita Grimani’s cantata *Pallade et Marte*, the aria of the god Mars—a triumphant march with a distinctly martial style, yet retaining a very light touch—was performed with verve. It is above all the dialogue between the cello and the bassoon that captures the listener’s attention in this work. Originally composed for cello and obbligato theorbo, Marie van Rhijn adapted it by replacing the theorbo with the bassoon, writing a specific part for it, much to the delight of Mathieu Lussier. The dialogue between the two instruments effectively illustrated the relationship between the two protagonists, Athena and Mars, with an almost humorous exchange that one would not have imagined possible in this way within the 18th-century repertoire. A short concerto for harpsichord, subtitled “Madrigalesco” by Vivaldi, served as a bridge between these two pieces in the first part, showcasing the harmonic richness of the composer’s language.

The second part was entirely devoted to the voice, featuring excerpts from Maria Teresa Agnesi’s Serenata Ulisse in Compania and Giovanni Battista Ferrandini’s cantata Il pianto di Maria, whose title inspired the name of this concert. Ferrandini’s cantata, much like a Stabat Mater, recounts the suffering of the Mother of Christ as she watches her son on the cross. Originally composed for soprano, the version performed in this concert was transposed down a third. Too high for a contralto in the original key and even too low for a soprano, this version—adapted for the occasion to suit the voice on stage—gave the work a very maternal quality. In the cavatina “Se d’un Dio fui fatta Madre”—the Virgin expresses her pain and even her indignation at seeing her son die. The musical and harmonic line is simple yet rich, carried with warmth by Pichanik’s voice and supported by the orchestra and Marie van Rhijn in phrasing and conducting of a thrilling and touching intensity.

With a program that this year features a thoughtful blend of well-known composers and new discoveries—including a third of its 2025–2026 season dedicated to female composers—Arion continues to bring a breath of fresh air and a welcome variety to the repertoire of 17th- and 18th-century music on the Montreal scene.

Photo Credit: Elliana Zimmerman

classique / post-romantique / violon

Mayumi Seiler & Kyoko Hashimoto à la salle Bourgie

by Rédaction PAN M 360

Ce concert se veut à l’image de ses interprètes, en faisant écho à leurs racines japonaises et européennes. De beaux liens qui se retrouvent aussi dans l’œuvre de l’éminent compositeur japonais Tōru Takemitsu qui fut lui-même inspiré de Debussy. Les sonates de Mozart et de Brahms, pleines de vitalité et de lyrisme, viennent compléter parfaitement ce programme.

This concert echoes the performers’ Japanese and European roots—a blend of influences also found in the music of Tōru Takemitsu, an illustrious Japanese composer who was profoundly influenced by Debussy. Spirited and lyrical sonatas by Mozart and Brahms perfectly round out this programme.

Programme

MOZART Sonate pour violon et piano n^o 35 en la majeur, K. 526
DEBUSSY Sonate pour violon et piano en sol mineur, L. 140
TAKEMITSU Hika [Élégie], pour violon et piano
BRAHMS Sonate pour violon et piano n^o 1 en sol majeur, op. 78

Program

MOZART Violin Sonata No. 35 in A major, K. 526
DEBUSSY Violin Sonata in G minor, L. 140
TAKEMITSU Hika [Elegy], for violin and piano
BRAHMS Violin Sonata No. 1 in G major, Op. 78

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Ce contenu provient de la salle Bourgie et est adapté par PAN M 360

Africa / classique / Kora

Zal Sissokho & Laurent Perrault-Jolicoeur – Racines à la salle Bourgie

by Rédaction PAN M 360

Racines, c’est le dialogue entre le jazz et la musique mandingue; la rencontre entre les quatre cordes de la contrebasse occidentale et les vingt-et-une que possède la kora africaine. Laurent Perrault-Jolicoeur et Zal Sissokho cherchent à retisser les liens entre ces deux traditions musicales grâce à leurs compositions qui mêlent rythme, harmonie et improvisation.

Roots is the dialogue between jazz and Mandinka music—the place where the Western double bass with its four strings meets the African kora with its twenty-one. Laurent Perrault-Jolicoeur and Zal Sissokho work to forge new ties between their musical traditions, using captivating rhythms, harmonies, and improvisation in each of their compositions.

Programme/program

Laurent PERRAULT-JOLICOEUR
Farka
À petit feu
Racines
Après la fin
Zal SISSOKHO
Miniamba
Sila
Nadiara
Traditional Mandinka
Bara
Kéléfa
Traditional
Jarabi

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Ce contenu provient de la salle Bourgie et est adapté par PAN M 360

Baroque / classique

Arion Orchestre Baroque : Les larmes de Marie à la salle Bourgie

by Rédaction PAN M 360

L’on vous promet autant de larmes de bonheur que de tristesse, et parfois les deux à la fois, lors de ce programme qui a comme point focal le nom Marie. Marie comme la mère du Christ au pied de la croix dans l’émouvante cantate Il pianto di Maria de Giuseppe Battista Ferrandini. Mais aussi comme dans le prénom de trois compositrices d’exception du XVIIIe siècle qui ont laissé leur marque à l’opéra – Grimani, Walpurgis et Agnesi – cette dernière nous offrant également un concerto pour clavecin. Pour ce programme Arion accueille la contralto Anthea Pichanick qui vous ravira assurément, et la cheffe et claveciniste Marie van Rhijn, à la carrière florissante, que nous accueillons toutes les deux pour la première fois à Montréal.

You are promised as many tears of joy as of sorrow, and sometimes both at once, in this program whose focal point is the name Marie. Marie as in the mother of Christ at the foot of the cross in Giuseppe Battista Ferrandini’s moving cantata Il pianto di Maria. But also Marie as in the first name of three exceptional 18th-century women composers who left their mark on opera – Grimani, Walpurgis, and Agnesi –the latter also offering us a harpsichord concerto. For this program, Arion welcomes contralto Anthea Pichanick, who is sure to delight you, and conductor and harpsichordist Marie van Rhijn, whose flourishing career brings her to Montréal for the first time, as we welcome both artists to the city.

Programme/program

Œuvres de/works by Maria Teresa Agnesi, Giovanni Battista Ferrandini, Maria Margherita Grimani, Antonio Vivaldi et Maria Antonia Walpurgis

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Ce contenu provient de l’Arion Orchestre Baroque et est adapté par PAN M 360

Baroque / classique

Les Violons du Roy : Autour de Don Quichotte à la salle Bourgie

by Rédaction PAN M 360

Don Quichotte a inspiré un grand nombre d’œuvres d’art. Le prolifique Telemann en a fait une suite savoureuse comme le compositeur finlandais Sallinen, une œuvre concertante très originale et spectaculaire pour violoncelle qui fera ici appel à toute la virtuosité de Johannes Moser qu’on entendra aussi dans le plus célèbre concerto de C.P.E. Bach.

Don Quixote has inspired innumerable works of art, including a delightful suite by the prolific Telemann and a spectacular concertante piece for cello by Finnish composer Sallinen. In this performance, cellist Johannes Moser will showcase his full virtuosity in Sallinen’s work, then also appear in C.P.E. Bach’s most famous concerto.

Programme

G.P. TELEMANN
Suite en sol majeur, TWV 55:G10 Burlesque de Quichotte
C.P.E. BACH
Concerto pour violoncelle en la majeur, Wq. 172, H. 439
A. SALLINEN
Chamber Music III, The Nocturnal Dances of Don Juanquixote
L. VAN BEETHOVEN
Quatuor n° 11 en fa mineur, op. 95 « Serioso » (version pour orch. à cordes)

Program

G.P. TELEMANN
Ouverture-Suite, TWV 55:G10 Burlesque de Quixotte
C.P.E. BACH
Concerto for Cello in A Major, Wq. 172, H. 439
A. SALLINEN
Chamber Music III, The Nocturnal Dances of Don Juanquixote
L. VAN BEETHOVEN
String Quartet No. 11 in F Minor, Op. 95 « Serioso » (version for string orchestra)

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Ce contenu provient des Violons du Roy et est adapté par PAN M 360

classique / période romantique / Piano

Ronald Brautigam – Les impromptus de Schubert à la salle Bourgie

by Rédaction PAN M 360

L’un des meilleurs interprètes actuels du pianoforte propose un programme tout Schubert, à l’image de son plus récent disque paru chez BIS. Celui qui fut l’élève du grand Rudolf Serkin est réputé expert dans le répertoire du romantisme naissant et en fait ici la démonstration avec ces Impromptus attachants.

One of the world’s leading fortepianists presents an all-Schubert programme in the wake of his 2024 Schubert sonatas album for BIS Records. Brautigam, who studied under the great Rudolf Serkin, displays his mastery of the early Romantic repertoire by performing Schubert’s beloved Impromptus.

Programme/program

SCHUBERT Impromptus, D. 899 et/and D. 935

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Ce contenu provient de la salle Bourgie et est adapté par PAN M 360

classique / musique contemporaine / Poetry

Brett Polegato & Stephen Hargreaves à la salle Bourgie

by Rédaction PAN M 360

La poésie est au cœur de ce concert qui illustre la manière dont les compositeurs puisent leur inspiration dans les textes de grandes femmes de lettres, de la Torontoise Gil Adamson à l’Américaine Emily Dickinson. Leurs mots sont ici portés par le baryton Brett Polegato, renommé pour sa voix brillante et envoûtante.

This vocal recital has poetry at its core. With his brilliant baritone voice, the renowned Brett Polegato sings the words of great women authors from Emily Dickinson to Torontonian Gil Adamson, showing clearly why their poems have inspired composers past and present.

Programme

VAUGHAN WILLIAMS Four Poems by Fredegond Shove (extraits)
Julian PHILIPS Swift Partitions (extraits) sur des poèmes d’Emily Dickinson
John ESTACIO Création inspirée sur des poèmes de Gil Adamson
Matthew RICKETTS Songs for Judith sur des poèmes de Edna St. Vincent Millay

Program

VAUGHAN WILLIAMS Four Poems by Fredegond Shove (excerpts)
Julian PHILIPS Swift Partitions (excerpts) on poems by Emily Dickinson
John ESTACIO New work inspired by poems by Gil Adamson (premiere)
Matthew RICKETTS Songs for Judith on poems by Edna St. Vincent Millay

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Ce contenu provient de la salle Bourgie et est adapté par PAN M 360

classique / Piano / post-romantique

Intégrale des sonates pour piano de Prokofiev – Concert 2 : Un nouveau classicisme à la salle Bourgie

by Rédaction PAN M 360

L’un des 15 meilleurs pianistes canadiens de tous les temps selon la CBC, David Jalbert nous mène sur le chemin passionnant des sonates pour piano de Prokofiev ! Dans une intégrale en trois concerts-événements, ce projet s’inscrit dans la foulée de ses enregistrements chez ATMA Classique. Entre introspection et virtuosité, romantisme et modernité, ces œuvres reflètent le parcours et la vie de ce compositeur visionnaire.

Programme

PROKOFIEV
Sonate pour piano n^o 4 en do mineur, op. 29
Sonate pour piano n^o 2 en ré mineur, op. 14
10 pièces pour piano, op. 12 (extraits)
Sonate pour piano n^o 6 en la majeur, op. 82

Program

PROKOFIEV
Piano Sonata No. 4 in C minor, Op. 29
Piano Sonata No. 2 in D minor, Op. 14
Ten Pieces for Piano, Op. 12 (excerpts)
Piano Sonata No. 6 in A major, Op. 82

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Ce contenu provient de la salle Bourgie et est adapté par PAN M 360

musique contemporaine

Duo Étrange dispels all doubts (if there were any)

by Frédéric Cardin

On Tuesday evening, February 24, 2026, the launch concert for the album I Wish I Were Dead by Duo Étrange was held at Montreal’s Bourgie Hall. I will not revisit the individual pieces, which I have already discussed extensively in my album review, nor the circumstances surrounding the creation of this record, which are thoroughly covered in theinterview I conducted with the two artists, soprano Vanessa Croome and cellist Sahara von Hattenberger.

READ THE REVIEW OF THE ALBUM I WISH I WERE DEAD

WATCH THE INTERVIEW WITH THE STRANGE DUO

Striking performance by Vanessa Croome

I will focus my attention on the performance of the two young artists. The entire audience present noticed, I don’t think I’m mistaken in stating this, the very high quality of Vanessa Croome’s voice. A fluid, ethereal soprano but with vigour, agile and pleasantly brilliant in high notes, capable of convincing descents into mezzo areas.

But what probably impressed the music lovers present the most was the young artist’s excellent expressive performance. A remarkable ease in evoking states of mind, and an undeniable authenticity of the emotions accompanying the texts and musical lines, which are also very well mastered.

I immediately imagined her on stage, at the opera. Something she has done a few times, but not that much yet. Attention to the artistic directors of the country (and mainly of Quebec). Take notice! We’d like to keep her with us for as long as possible!!.

Sahara, a cellist to remember… and some duduk

On the cello side, Sahara von Hattenberger demonstrates a lot of character, impeccable technique, and strong emotional immersion, without any affected embellishment. A superb performer, whom we hope to keep in Montreal for a long time. Know that she now partially lives in New York due to her participation in the Chamber Orchestra of New York. I am calling out, again, to all artistic and general directors of instrumental ensembles in Montreal and beyond: recruit this dynamic voice of the cello before it’s too late!

Regarding the programming, we heard the same list as on the album, with the very beautiful pieces “Dans un sentier tout parfumé” and “Danger, peur, honte” by Fong Jeffrey. Inspired by texts from mediaeval France, they took on even more alluring forms in person, carried by the presence of Vanessa Croome.

I once again savoured the partially exotic Tree of Life by Maya Fridman, with its labyrinthine yet enchanting convolutions. And then, I indulged, just like when listening to the album, in the Quatrains of Wisdom by Airat Ichmouratov. The composer was on stage to accompany the artists with his clarinet and, above all, his fabulous duduk.

Another hit by Nicole Lizée

Nicole Lizée has once again hit the mark with her Urbexcelsis (a joint commission with Bourgie Hall), in which a partially live electronic track accompanies the two artists, who add to their “normal” task the manipulation of rudimentary percussion instruments, such as a piece of pipe, a chain in a metal bucket, and a power drill! I would recommend revising the drill’s score because it was hardly heard, often not at all. Nevertheless, the atmosphere of the abandoned and ruined cyberpunk city was fascinating and very well done.

The premise of Duo Étrange’s album concept is to say that contemporary music creations deserve to be heard more than once. Let’s hope their commissions will. But one thing is certain : we want to hear this duo very often again. And we will! Look down for upcoming concerts :

Sahara von Hattenberger

April 22nd, 2026

RECITAL W/ DAVID BRONGO: A NIGHT OF CELLO AND PERCUSSION

At the museum of Architecture in Montreal, QC. Part of the series previously held at the beloved Chapelle Historique du Bon-Pasteur.

Featuring Works primarily for cello and timpani by Perruchon, and more.

Duo Étrange

April 30th, 2026

Duo Etrange presents Ligeti’s Mysteries of the Macabre arr. for cello and percussionist soprano at Espace bleu in Montreal, QC.