Lanaudière Festival | Metropolitan Orchestra/Yannick Nézet-Séguin/Marc-André Hamelin: When Nature Drives the Concert

by Frédéric Cardin

Nature, and human nature in general, had the last word this Sunday at the Lanaudière Amphitheatre for the concert by the Orchestre Métropolitain (OM) conducted by Yannick Nézet-Séguin, with the imperial Marc-André Hamelin on piano. Let’s remember that it was the young sensation Yuja Wang who was supposed to be there, but sick for a few days, she had to withdraw. In Lanaudière, miracles do exist, according to the artistic director Renaud Loranger. He may not be wrong, because replacing an artist as intense as Wang at the last minute with an absolute master of his art such as Hamelin is indeed a blessing.

With the OM and Yannick, the two Ravel piano concertos were on the menu, the one for the left hand and the one in G, of course. From the outset, we knew that we had not lost anything in the exchange, because the Quebec pianist seized the Concerto for the Left Hand in D Major, without ever letting up the pressure for a moment, so explosive in its contrasts, so nervous and urgent in its motifs and melodies, so fragmented in its references, moving from jazz to military music, modernism and lyricism. Hamelin controlled the entire discourse and pacing of the work, with unwavering confidence, to which Yannick and the OM submitted with grace, infusing their musical part with very beautiful colors, feverishly drawn by the conductor. This kind of music is second nature to the Quebec pianist, as if he never needs to think about it, just let his instinct and essential Self take over.

The Concerto in G major, more substantial in content though not much longer in duration, is an absolute marvel, which is part of our collective music-loving psyches. Here, if we could feel a slowness to “get into” the game from Hamelin, but quickly resolved. The two external movements demonstrated a beautiful mastery of the textural play in the orchestra, by Yannick, and of the pointillist discourse by Hamelin. A few rare flights seemed less clear in their execution than those of the concerto for the left hand, no more. It was in the central movement, which is one of the most beautiful musical passages in history, that the pianist showed inspiring poetry and benevolent gentleness. Not better than the best, but not worse either. In short, a high-quality reading, of the kind we expect from the best artists in the world. If the OM did well in this movement, it missed the step towards an absolute standard, particularly in the woodwind solos that precede the great and wonderful English horn soliloquy. Some aesthetic clumsiness was noticeable in a wrongly placed flute breath and a slightly vulgar clarinet attack. The English horn solo itself, although very beautifully sung by the excellent Mélanie Harel, could have been projected with more force and stately presence in front of the orchestra. In short, it is in these infinitesimal details that the difference between the OM and the OSM is noticeable. A notch, a very small notch, but one that makes the difference for those who listen carefully.

Hamelin was almost heroically greeted by the audience, to whom he offered magnificent Jeux d’eau by the same Ravel. Another Lanaudois miracle: it was exactly at the climax of the piece that thunder and rain began to fall, in a spontaneous symbiosis as wonderful as it was funny. We would have wanted to program it, but we could probably never make it happen.

As an opening piece, Yannick had chosen a very pretty impressionistic score by Lili Boulanger, D’un matin de printemps, which set the table nicely for what was to come, namely a festival of orchestral colors.

As if the musical density had not yet been maximized enough, the concert ended with the substantial Symphony No. 2 in D major, Op. 43 by Sibelius. This time, nature did not collaborate kindly with the musicians. After a few minutes of settling into the first movement, the audience and artists had to take a break from the musical communion because the downpour, not only noisy, even made its way onto the stage due to the strong winds, risking damage to the performers’ instruments, especially the strings.

We were destabilized by the resumption, which did not take place at the beginning of the work, as announced, but roughly where we had left off. With stability restored in our minds, we paid attention to the unfolding of these sublime pages from the symphonic repertoire. Yannick succeeded where, I find, he did not entirely satisfy in his Atma label recording. In the latter, he draw an almost mineral, chthonic vision, whereas I believe that this symphony requires an airy approach, without neglecting the grounding in the soil. It’s a bit of what we got as the sky finally lit up. The Finale was adequately held and sustained in its celestial and luminous ascent so emblematic, so mystically powerful. Satisfaction, despite the initial disagreements of Mother Nature.

REVIEW OF THE ALBUM SIBELIUS, SYMPHONIES 2 AND 5

Classical

Festival de Lanaudière | Sol Gabetta : Queen of the cello meets les Violons du Roy

by Frédéric Cardin

Friday evening, the Lanaudière Festival welcomed the Argentine cellist Sol Gabetta, for the first time in Canada, said the press release. In the introduction to the concert, the artistic director Renaud Loranger rather mentioned a “first time in Quebec.” I tried some research, but I can’t say if it’s “Canada” or “Quebec.” If you know, let me know.

In the end, all of this is of little importance in light of the spectacular performance that the Swiss-based artist offered to the fairly large audience. Spectacular, certainly, but not in the sense of a show-off who wants to accelerate the allegros systematically into Mad Max-esque furiosos. Rather in the sense of a technique so precise that it forces admiration and provides excitement by itself, and that is also supported by a warm singing of the phrases that lets all the notes flow with undeniable naturalness. I am thinking particularly of Haydn’s Cello Concerto No. 1 in C major, Hob. VIIb/1, of which I have rarely heard such a clear and touching reading. In this sense, Gabetta (and the Violons du Roy, of course) expressed with excellence the spirit of Empfindsamkeit, or the “sensitive style” of the late 18th century, a precursor of Romanticism in that it favored a freer expressiveness, while remaining framed by still very precise and coded forms. No urgency or disheveled propulsion of rhythms, then, nor aggressive attacks that seek to force “energy.” Only a calm narration, but one that exudes a communicative sparkle, all within a technical execution that reaches stylistic perfection. It was a very great moment of music.

The other concerto played by Ms. Gabetta (there were two, since she was with us…) was that of Carl Philipp Emmanuel Bach, the very pretty Wq 172 in A major, one of my favorites in the repertoire, although still relatively unknown to the general public. The cellist admitted in the interview granted to my colleague Alexandre Villemaire that she had not touched this piece since 2014. We noticed, as a result, that the lady did not have this score as instinctively “in her fingers” as the Haydn, even though in the end she still gave a solid lesson in musicality to anyone who would like to try it.

I don’t know if Bernard Labadie’s Violons hadn’t been in contact with this concerto for several years either, but the fabulous clarity demonstrated in the first part of the concert (in addition to the Haydn, Mozart’s Symphony 29, which I’ll tell you about below) wasn’t quite as crystalline in this CPE Bach. Oh, for any other ensemble, it would have been an accomplishment in itself, but after what we had heard previously, the bar had just dropped by an infinitesimal micron, nevertheless perceptible.

READ THE INTERVIEW WITH SOL GABETTA (in French)

From the very beginning of the concert, and as mentioned just now, Bernard Labadie gave a Symphony No. 29 in A major, K. 201 perfectly balanced with steady rhythms and finely drawn phrases. All this in a relaxed and elegant style. Already, we had an idea of the aesthetic choice proposed for this concert. In the end, it was at the end of the program that the Quebec conductor showed a little more vigor with Haydn’s Symphony No. 45 in F-sharp minor, “The Farewell,” to which he breathed a dynamic that we had not felt before. A convincing conclusion that did not deviate from the spirit of the evening’s general. A great success.

We only hope that these are not “goodbyes” that Sol Gabetta is leaving us with, but only a “see you later,” because this fabulous performer absolutely must come back to us quickly. We dream of hearing her at the Maison symphonique or at the Bourgie hall!

Choral Music / Classical / période romantique

Festival de Lanaudière | A Successful Choral Evening for Akamus

by Alexis Desrosiers-Michaud

On Friday and Saturday at the Lanaudière Festival, a diptych of Felix Mendelssohn’s oratorios Paulus and Elias was performed. For the occasion, the Akademie für Alte Musik Berlin (Akamus) and the Audi Jugendchorakademie visited us, all under the direction of Martin Steidler. According to artistic director Renaud Loranger, “this is the first time in Canada that the two oratorios have been presented in this way, and also sung in German; the usual language is English. We were there on Friday.

In front of a sparse audience and an almost empty lawn, this magnificent concert took place. Over the course of the two-hour evening, everything fell into place. The orchestra, enlarged for the occasion, played on period instruments (with a snake!), leaving plenty of room for the choir. The choristers’ pronunciation is precise and impeccable. They skilfully varied the palette of colors, being sometimes incisive (“Lapidez-le”), sometimes gentle, notably in the various chorales. One of the evening’s highlights was the appearance of Jesus at the end of Act 1. Performed by the women’s voices, it was an extremely luminous passage, without being angelic or honeyed.

Among the soloists, it was viola Ulrilke Malotta who was the best, despite singing only two short interventions. Her voice is deep and resonant. The soprano Marie-Sophie Pollak has a beautiful voice, but never stands out during the evening. Replacement tenor Magnus Dietrich does well, but remains too stoic, despite the fact that he was the soloist who best embodied and “played” his roles of Stephen and Barnabas. Finally, bass Krešimir Stražanac had a few problems during the evening. Sometimes too rounded, his emotions and words were lost. He would have gained by sticking to the score and not trying to give more.

Finally, a word about the overall presentation of the concert. There was room for improvement in the choice of images projected on the giant screens. All too often, there were images of instrumentalists not in the foreground, and this does the spectator high up in the valley no favors at all. And that’s in addition to correcting mistakes in the surtitles.

Photo Credit : Gabriel Fournier

Baroque / Opera

Festival de Lanaudière | The Coronation of Poppea, the triumph of Octavia and the mastery of Alarcon

by Frédéric Cardin

On the strength of a masterful Orfeo in 2023, the Cappella Mediterranea conducted by Leonardo Garcia Alarcon made an eagerly awaited return to Lanaudière with Monteverdi’s “other” opera, The Coronation of Poppea. A different work, conceived at the very end of the composer’s life (whereas Orfeo was written some thirty years earlier) and subject to commercial dictates unheard of for opera at the time. On this subject, READ the interview I conducted with Mr. Alarcon in preparation for this concert.

Alarcon was surrounded by his faithful colleagues on instruments and vocals, many of whom were there in 2023. The same calibre, then, with the addition of Lanaudière’s Pascale Giguère, called in at the last minute to replace a sick violinist. Hats off to Ms. Giguère, and we’re justifiably proud of her, for the musician’s playing was fully up to the standard of the ensemble.

In a more sparing gauge than for Orfeo (see again the interview mentioned above), the Cappella demonstrated its perfect match with the score, as much in the suggestion of emotions as in the precision of the melodic and accompanying lines. And, once again, the splendour of the singers was on display. Countertenor Niccolo Balducci in the role of Nero was imperial, but without grandiloquence. Sophie Juncker, who was said to be indisposed by a virus, held her part very well, even if there were occasional lapses in the strength of her projection. Nothing to make us sulk, that said. The secondary roles were all of a very high standard: the solemn Edward Grint (Seneca), the amorous and even naive Lucia Martin Carton (Drusilla), the slightly pitiful and even loser Christopher Lowrey (Othon, splendidly ridiculous in his Hawaiian t-shirt) and the truculent Samuel Boden in a panoply of small roles (a nurse, Arnalta, Damigella, etc.), which he performed with humour and casualness, despite the use of a tablet on which he consulted his score. One can only imagine the increased impact his performance would have if he knew how to do without it!

But beyond all that, I was particularly charmed by soprano, Mariana Flores in the role of Octavia, a noble and somewhat haughty empress, humiliated by the rejection of her emperor husband and driven to plot like a villain to save her marriage and, above all, her title and reputation.

In an exquisite tight-fitting dress, she was as desirable as a queen should be in legend. But her Olympian presence gave her the appropriate emotional distance, betraying a character that Nero described as ‘frigid.’ An accusation often tinged with misogyny, but which here refers to the typical attitude of a matron from a prestigious and aristocratic lineage, whose scorned dignity can only be expressed by a certain contempt for the world. Yesterday, Mariana Flores had the most accomplished voice, the most qualitatively holistic, powerfully expressive in her anger, poignant despite her reserve in her ideal high-pitched murmurs. A voice without tonal flaw or timbral approximation. For your humble servant, the queen of the evening, despite her final downfall in the libretto.

On the whole, too, the acting is impressive, embodied and clearly the result of long and expert work. You believe it from start to finish. Leonardo Garcia Alarcon demonstrated the full depth of his mastery of Monteverdian language and style. Another triumph for the musical director. We wonder what miracle he will bring us next time, but we can only look forward to it.

That said, audiences will have to be worthy of receiving this artistic quality, by coming in greater numbers. Otherwise, at some point, people will tire of offering exceptional programmes to sparse audiences.

période romantique

Festival de Lanaudière | Bruckner and Payare: Cathedral builders

by Frédéric Cardin

One man meticulously drew up all the plans for a majestic edifice, while the other was responsible for raising it from the ground, on solid foundations, decking it out in the finest finery and lifting it to the heavens. The undertaking succeeded admirably, and the result unveiled last night at the Amphithéâtre de Lanaudière was something of an Olympian.

I’m talking about Anton Bruckner’s Symphony No. 8 in C minor, which the explanatory clichés always compare to a great, magnificent cathedral. For once, let’s give clichés their share of symbolic truth. The Austrian composer’s penultimate symphony is indeed grandiose and monumental, and written in a spirit of vibrant devotion (Bruckner was very religious). This work, which lasts almost an hour and a half and requires a huge orchestra, has everything it takes to stimulate an architectural allegory as impressive as that of a cathedral. Notre-Dame? Reims? Strasbourg? Cologne? You get the idea.

Payare has skilfully constructed this Herculean edifice yesterday, with details and contrasting dynamics that reinforce the spiritual drama at work. Drama, yes. For even if we compare the Eighth to a cathedral, even if we say, quite rightly, that it is like an immense prayer by the composer, inviting us all to share his devotion with it, the power of the emotions concealed in this score tells a personal story of the search for transcendence.

Everything was perfect. Payare controlled the dynamic impulses, without really holding them back, just communicating, clearly, Bruckner’s will. Like a spiritual ferryman. Moments of extreme gentleness were so faintly audible that the nearby birds sounded louder. The composer would have been ecstatic! On the contrary, the moments of magnificence filled the natural basin of the site like the divine taking up all the space.

And what an orchestra! Payare and we are lucky. Ideal intonation of the solos, section ensembles and tutti, phrasing of the adagio without haste but with a palpable inherent energy.

This Adagio, moreover, and especially this quivering ascent of the strings accompanied by the three (!) harps, a celebrated moment (which recurs several times) that transports music-lovers very close to the gates of Paradise, had something purely celestial about it, and was perfectly successful. As for the finale of the Finale, a majestic construction, the final finishing touch to a sublime building that would house any supreme divinity of any cult (God, Allah, Brahma, Odin, Ra, Zeus, etc., etc.), this finale that grabs you by the guts and lifts you up in spite of yourself, was grandiose to a fault, but without any vulgarity. All real, all felt, with respect and elegance.

Oh, I could quibble about details. The trumpets in the Scherzo could have been much more incisive. I like them that way, you see. To mark the plebeian side of the movement, in contrast to the piety of the previous one. And the last bars of the first movement, which call for contemplation, could have been a little more “contemplative”.

Nevertheless, this level of musical quality is to the credit of our Montreal orchestra, which is undoubtedly one of the best in the world. Bravo to the soloists, impeccable, and in particular Catherine Turner on the French horn. What exceptional work, what accuracy of tone, sonority and colour. The lady was remarkable, mastering an instrument that is so capricious and so often tempted to betray its owner.

The only real downside was the audience: it was only partially full. A shame, given the quality of the performance on offer.

Choral Music / Classical / Modern Classical / période romantique

Festival de Lanaudière | Magistral Opening

by Alexandre Villemaire

The 47th edition of the Festival de Lanaudière opened with a bang, as sonorous as the first note of the masterpiece of this July 4 concert inaugurating a month of music in the Lanaudière region. Led by Rafael Payare, the Orchestre symphonique de Montréal and the OSM Chorus delivered a masterful performance of Carl Orff’s landmark secular cantata Carmina Burana. This was the first time in thirteen seasons that the work had been performed at the festival. An excellent opportunity for listeners and music lovers to discover or rediscover the work.

The first part featured two works with contrasting pictorial characters. The opening work was “Icarus” by composer Lena Auerbach. Eminently descriptive, the work of course refers to the figure from Greek mythology who, wanting to get too close to the sun, burnt his wings and ended up drowning. It’s an example of human nature’s desire to push back its limits through boasting and greed. The work oscillates between different moods, sometimes tense, sometimes lyrical. The first section establishes a dialogue between strings and woodwinds in this affect. A second section takes on more dramatic accents with the intervention of the brass, followed by a passage of great lyricism in the strings that flows into a harmonic anxiety that culminates in an evocation almost of a funeral march with the intervention of tubular bells. A third, calmer section is introduced by the harp in dialogue with the pizzicati of the violins, before a counter-melody interpreted by first violinist Andrew Wan progresses in an evanescent suraiguity that eventually melts into the ethereal sound of musical glasses. All in all, a well-cut composition with fine orchestration and imaginative orchestral effects.

After this ethereal piece, Rachmaninov’s “Rhapsody on a Theme” by Paganini moves into a wild register. Taking up the already virtuoso work of Italian violinist and composer Niccolo Paganini, Rachmaninov’s equally complex treatment was led by German pianist Kirill Gerstein. He demonstrated great pianistic agility in expressing the various passages, supported by a precise Rafael Payare. The only discomfort we felt was that the orchestra, even in its instrumental support role, was a little too sonically recessed.

Masterpiece. From the first stroke of the timpani and the first note of the chorus singing “O Fortuna”, we are taken on a solid musical journey. The words are clear, the pronunciation and articulation precise, and the various dynamics Payare brings to bear are roundly executed. The OSM conductor opted for a sequence of each of the twenty-five movements in attaca for his interpretation, keeping the attention and the audience and giving the work a clear narrative direction to its medieval poems tackling themes such as the constant nature of fortune and wealth, joy and the pleasures of alcohol and the flesh. Among the finest moments is the ninth movement, “Reie”, which features a superb, intimate passage between the voices. The entire In Taberna sequence, literally “at the tavern”, was aptly staged by countertenor Lawrence Zazzo and baritone Russell Braun. The unique tenor aria “Olim lacus colueram” (Once I dwelt on a lake), literally a swan’s lament describing the various stages leading to its being eaten, was both comic and disturbing, but unambiguously clear. Equally unambiguous was the duet between soprano Sarah Dufresne and Russell Braun “Tempus est iocundum”, (Time is joyous) where the inflections of the vocal line and the acceleration leave no doubt as to the nature of the text, which describes a scene of committed love. Both Dufresne and Braun delivered a heartfelt, vocally arresting interpretation of their respective arias.

With a masterful start to its fourth season, we can only wish the Festival de Lanaudière good luck for the rest of its programming.

Publicité panam

période romantique

Festival de Lanaudière 2024 | OSM/Levanon : game saved in the second half

by Frédéric Cardin

An eagerly-awaited evening on Saturday July 20 at the Amphithéâtre de Lanaudière: the young Isareli pianist Yoav Levanon made his debut with the Montreal orchestra in an eminently spectacular concerto, the Tchaikovsky. We’ve heard the praises of this young man, who made his stage debut at the age of 7, no less. The imperial entrance of the horns, absolutely perfect, gives a glimpse of something calm, in terms of tempo, but masterfully designed. Then comes Levanon. A certain strength of gesture, to be sure, but without any particular sparkle. Then there are a few technical errors here and there. You can forgive them, of course, if only they are offset by a total and communicative commitment. But not here. In the end, you stay firmly in your seat, never lifted by an emotional surge that you’re waiting for in vain. The performance is adequate, at best. Lebanon finds some life in an encore : very beautiful and excitingly expressed Campanella by Liszt. The OSM, on the other hand, is superb in its variety of colours. Payare does his best to dress things up. It’s almost faultless, a very short but noticeable rhythmic shift in the woodwinds in the 3rd movement denying a note that could have been perfect. In the second half, we waited impatiently for the orchestra in Rimsky-Korsakov’s Scheherazade, hoping to find a dose of adrenaline that Levanon’s piano had previously failed to provide. The colours are beautiful, very beautiful indeed. Payare weaves an appropriately shimmering canvas, with beautiful, expressive nuances. The orchestra’s ensemble playing is top-notch, particularly the brass, vibrant and stentorian. The woodwinds chirp and twirl spectacularly, and the strings are soft and warm on this slightly chilly evening. That said, some rather ostentatious technical errors were made by a few soloists in open passages (trumpet, horn). We’re not used to that. Fortunately, others were sublime: Andrew Wan, solo violin, divine, bewitching in his beauty of sound. Long ovations from the audience confirmed this. Mathieu Harel too, absolutely perfect in his bassoon solos. All in all, perhaps not the OSM’s best evening, but the match was saved at the very end of the half.

classique / Opera

Festival de Lanaudière: Aida en clôture de saison

by Rédaction PAN M 360

C’est l’un des opéras emblématiques de Verdi, et l’un des plus connus, des plus aimés de tout le répertoire, sans aucun doute, entre amour tragique, intrigue politique et exotisme séduisant. Yannick Nézet-Séguin dirige une distribution vocale de tout premier rang – grandiose conclusion de la 47e édition du Festival – quelques mois avant d’inaugurer une nouvelle production d’Aida Metropolitan Opera.

One of Verdi’s most emblematic operas, and undoubtedly one of the best-known and best-loved in the entire repertoire, this is a work of tragic love, political intrigue and seductive exoticism. Yannick Nézet-Séguin conducts a first-rate vocal cast – a grandiose conclusion to the 47th edition of the Festival – a few months before inaugurating a new production of Aida at the Metropolitan Opera.

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Ce contenu provient du Festival de Lanaudière et est adapté par PAN M 360.

classique

Festival de Lanaudière: Mahler et le chant de la nuit

by Rédaction PAN M 360

Gustav Mahler et sa Septième, c’est un cosmos entier qui tient dans le creux de la main, celui du monde viennois et d’une certaine idée de la culture : de l’apothéose du classicisme à la modernité énigmatique du premier vingtième siècle, jamais poussée aussi loin, peut-être, que dans ce mastodonte symphonique créé dans une Europe marchant inconsciemment vers l’abîme. L’Orchestre symphonique de Montréal et Rafael Payare, dont l’interprétation de la Cinquième Symphonie, à l’été 2022, est restée gravée dans toutes les mémoires, restituent la puissance évocatrice de ce chef-d’œuvre, dans le cadre idéal de l’Amphithéâtre.

Gustav Mahler and his Seventh Symphony hold an entire cosmos in the palm of your hand, that of the Viennese world and a certain idea of culture: from the apotheosis of classicism to the enigmatic modernity of the first twentieth century, never pushed so far, perhaps, as in this symphonic behemoth created in a Europe marching unconsciously towards the abyss. The Orchestre symphonique de Montréal and Rafael Payare, whose performance of the Fifth Symphony in the summer of 2022 remains etched in everyone’s memory, restore the evocative power of this masterpiece in the ideal setting of the Amphitheatre.

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classique

Festival de Lanaudière: Boléro et autres joyaux

by Rédaction PAN M 360

Entre Ravel et Debussy, c’est toute la magie de l’impressionnisme musical que nous proposent Rafael Payare et l’Orchestre symphonique de Montréal, son aura raffinée et mystérieuse, ses moirures irrésistibles et étincelantes. C’est aussi un voyage dans le temps, vers le Paris du début du 20e siècle, une plongée dans le monde enchanteur du ballet et la fascination de l’époque pour l’exotisme d’un « ailleurs » de légende – jamais plus éclatante, sans doute, que dans l’incontournable Boléro.

Between Ravel and Debussy, Rafael Payare and the Orchestre symphonique de Montréal bring us the magic of musical impressionism, its refined, mysterious aura, its irresistible, sparkling moiré. It’s also a journey back in time, to the Paris of the early 20th century, a plunge into the enchanting world of ballet and the fascination of the time for the exoticism of a legendary “elsewhere” – never more dazzling, no doubt, than in the inescapable Boléro.

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classique

Festival de Lanaudière: L’heure exquise

by Rédaction PAN M 360

XIXe siècle musiciens, néophytes et mélomanes se rassemblaient dans les salons afin de partager un amour commun de la poésie et de la musique.

Cherchant à recréer l’atmosphère intimiste de ces soirées, Olivier Bergeron et Chloé Dumoulin, deux étoiles montantes de la scène classique, proposent un concert intime soulignant le cent-cinquantième anniversaire de la naissance de Reynaldo Hahn, et le centième anniversaire du décès de Gabriel Fauré.

In the 19th century, musicians, neophytes and music lovers gathered in salons to share a common love of poetry and music.

Seeking to recreate the intimate atmosphere of these evenings, Olivier Bergeron and Chloé Dumoulin, two rising stars on the classical scene, offer an intimate concert to mark the hundred-and-fiftieth anniversary of Reynaldo Hahn’s birth, and the hundredth anniversary of Gabriel Fauré’s death.

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classique / Opera

Festival de Lanaudière: La douce France d’Anne Sofie Von Otter

by Rédaction PAN M 360

On ne présente plus Anne Sofie von Otter, reine des plus grandes scènes d’opéra depuis des décennies, récitaliste, souveraine, maîtresse d’un art du chant incomparable, mariant sensibilité à fleur de peau et profonde intériorité. Artiste versatile, elle propose pour ses débuts à Lanaudière une incursion rare dans l’univers de la chanson française, profitant d’un espace de liberté qu’elle conquiert à l’envi.

Anne Sofie von Otter, queen of the greatest opera stages for decades, recitalist, sovereign, master of an incomparable art of singing, combining skin-deep sensitivity and profound interiority, needs no introduction. For her Lanaudière debut, this versatile artist offers a rare foray into the world of French chanson, taking advantage of the freedom she has conquered to her heart’s content.

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