Festival Classica : L’hiver attend beaucoup de moi au Studio-Théâtre des Grands Ballets
by Rédaction PAN M 360
L’hiver attend beaucoup de moi explore la vie dans les paysages magnifiques et cruels du nord du Québec. Alors qu’une tempête approche, Léa qui est enceinte tente de rejoindre un refuge sûr. Elle y sera guidée par Madeleine, une mystérieuse inconnue. Cet opéra évoque la force et la solidarité des femmes face à un chagrin et à une tragédie indicibles. « L’hiver attend beaucoup de moi est exactement ce dont l’opéra a besoin. Il est audacieux, contemporain, poétique, politique, féministe, théâtral, bien exécuté et ne craint pas les traditionalistes. » — Montreal Theatre Hub
L’hiver attend beaucoup de moi explores life in the magnificent yet unforgiving landscapes of northern Québec. Pregnant and seeking refuge as a storm closes in, Léa sets out to reach safety, guided by the enigmatic Madeleine. This powerful opera speaks to the strength and solidarity of women in the face of unspeakable grief and tragedy. “L’hiver attend beaucoup de moi is exactly what opera needs. It’s bold, contemporary, poetic, political, feminist, theatrical, well-executed, and not afraid of traditionalists.” – Montreal Theatre Hub
Yesterday the Festival Montréal Nouvelles Musiques presented an unusual programme, Le son de l’encre, at the centre of which was the mechanical and symbolic process of line, drawing and writing. Five works for flute and various additions (video, gesture-animated sound interface, live calligraphy) were performed. The spirit of Asian calligraphy is associated with elegance, harmony and meticulousness. It was also in this state of sound, at least in general, that the music on offer flourished. Although ‘contemporary,’ most of the pieces on the programme were enveloped in more or less explicit echoes of Asian music, thanks to the harmonies on pentatonic scales.
Penned by François Dery, Claire-Melanie Sinnhuber, Tao Yu, Gualtiero Dazzi and François Daudin Clavaud, the evocatively-titled works (Bambous, Fleurs de prunes tombantes, Le son de l’encre, Vent léger, etc.) set the scene in a way that was both modern and timeless, bathed in an atmosphere that was often contemplative, even ritualistic. Some pieces were more poignant than others, such as Gualtiero Dazzi’s La demeure du rêve, a superb sound construction based on drawings by South Korean Kim Yung Gi, one of the great illustrators of our time, who died at the age of 47 in 2022. Gi’s drawings, four in all and admirable for their naturalness but also for their symbolic complexity, took the form of a series of family portraits set against each other. A deeply moving moment.
The presence of renowned calligrapher Shanshan Sun was necessary to accompany some of the works, such as Feu, neige, cendres by François Déry. I wasn’t as convinced by the coherent relationship between Sun’s live gestures and the music. Especially in the last piece of the evening, coordination seemed to be lacking, with Sun finishing his writing on a large piece of paper on the floor, while the musicians had finished playing. I’d say almost a minute passed during which I caught the look on the face of one of the flautists, silently wondering how long he should hold his instrument up…
Be that as it may, I must mention the great versatility of the Trio d’argent, made up of Michel Boizot, Xavier Saint-Bonnet and François Daudin Clavaud. Three flutes together, some would say, is suicide. The French have shown that it can be done very well, and sound magnificently too. The variety of flutes used was also a major factor. Western, Oriental, bass flutes (I love them!), etc., the colours deployed were numerous and beautifully applied, in a contemporary perspective, certainly, but not experimental.
It was an evening that was sometimes bewitching, often soothing, always pleasant and surprising. A lovely offering from the Festival Montréal Nouvelles Musiques, and it’s only just beginning.
Montréal/Nouvelles Musiques 2025 : Le son de l’encre
by Rédaction PAN M 360
Venez au Studio-Théâtre des Grands Ballets explorer les liens entre le geste musical et le geste calligraphique et le dessin. Au cours de ce concert mêlant vidéo, calligraphie et peinture en direct, le Trio d’argent (France) interprétera des compositions de François Dery, Claire-Melanie Sinnhuber, Tao Yu, Gualtiero Dazzi et François Daudin Clavaud. Du trait musical au trait pictural, les musiciens vous invitent à un concert empreint de poésie, où la musique dialogue avec l’art graphique. Grâce à la calligraphie en direct de Shanshan Sun, aux mangas de Jirô Taniguchi et aux vidéos de dessin en direct de l’artiste Kim Jung-gi, les trois flûtistes plongent le public dans l’univers fascinant de «l’art du trait» asiatique. Chaque expression graphique, mise en lumière par le geste musical, révèle une nouvelle facette de cet univers subtil et harmonieux. Ce spectacle multimédia unique est également une opportunité rare de découvrir le riche répertoire dédié au trio de flûtes.
Come to the Studio-Théâtre des Grands Ballets and explore the links between musical gesture, calligraphic gesture and drawing. In a concert combining video, calligraphy and live painting, the Trio d’argent (France) will perform compositions by François Dery, Claire-Melanie Sinnhuber, Tao Yu, Gualtiero Dazzi and François Daudin Clavaud. From musical line to pictorial line, the concert is imbued with poetry, where music dialogues with graphic art. With live calligraphy by Shanshan Sun, images from a manga by Jirô Taniguchi and live drawing videos by artist Kim Jung-gi, the three flautists immerse us in the fascinating world of Asian “line art”. Each graphic expression, highlighted by the musical gesture, reveals a new facet of a subtle and harmonious universe. This unique multimedia show is also a rare opportunity to discover the rich repertoire dedicated to the flute trio.
