Orchestre symphonique de Laval: Fêtes – Fauré et célébrations

by Rédaction PAN M 360

L’Orchestre symphonique de Laval vous invite à sa série de Grands concerts, comprenant quatre soirées thématiques captivantes. Rencontrez notre premier violon, Antoine Bareil, en tant que soliste interprétant le Deuxième concerto pour violon de Felix Mendelssohn. Pour les fêtes de fin d’année, plongez-vous dans le Requiem de Gabriel Fauré et dans d’autres airs populaires religieux et folkloriques. Vivez une soirée unique de jazz symphonique en compagnie de Yannick Rieu et Lionel Belmondo. Enfin, laissez-vous emporter par la découverte du violoncelliste Bryan Cheng, qui interprétera une composition de la méconnue Marie Jaëll.

The Orchestre symphonique de Laval invites you to its Grands concerts series, featuring four captivating thematic evenings. Meet our concertmaster, Antoine Bareil, as soloist performing Felix Mendelssohn’s Second Violin Concerto. For the festive season, immerse yourself in Gabriel Fauré’s Requiem and other popular religious and folk tunes. Experience a unique evening of symphonic jazz with Yannick Rieu and Lionel Belmondo. Finally, let yourself be carried away by the discovery of cellist Bryan Cheng, who will perform a composition by the little-known Marie Jaëll.

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

Classical / période romantique

OSL | Rencontre(s) au sommet with Antoine Bareil and Adam Johnson

by Alexandre Villemaire

The theme of encounters punctuated the Orchestre symphonique de Laval’s first concert of the 2024-2025 season on October 30.

The headliner was Antoine Bareil, OSL concertmaster, in Felix Mendelssohn’s masterful Violin Concerto No. 2 in E minor. But, more broadly, what emerged throughout the evening were encounters: encounters between the Mendelssohn sister and brother, encounters between guest conductor Adam Johnson and the orchestra, encounters as we strolled between different musical tableaux, but above all an encounter between the orchestra and its audience. A faithful audience, who turned out in large numbers to fill almost the entire Salle André-Mathieu. Just over 500 people, we were told.

Programming the two child prodigies of the Mendelssohn family as the opening act gave Adam Johnson – whose interventions to introduce each of the evening’s works were pertinent – the opportunity to highlight the undoubted talent of Fanny and Felix, linked by blood but separated by the conventions of their time. The concert began with Fanny Hensel Mendelssohn’s Overture in C major. A rarely performed work and the composer’s only piece for orchestra, it features a conventional structure and clear, vital writing divided into three parts: a noble introduction supported by a bass of winds, over which the strings weave delicate motifs; a second, more animated section where an interplay between two contrasting themes emerges between woodwinds and strings; and a festive, trumpeting finale. In each of these passages, conductor Johnson brings about changes in dynamics and textures with fluidity and precision. The woodwinds were particularly strong, complementing the virtuoso string lines of the fast part.

Felix Mendelssohn’s Violin Concerto No^. 2, one of the best-known and most important in the repertoire, plunges us into an entirely different character, between drama and lyricism. Antoine Bareil, the orchestra’s concertmaster, was giving his first performance of the work, and to say the least, he rose to the challenge with brio. Right from the first movement’s appassionato theme, Bareil sets the tone with an energetic, embodied opening. In the cadenza, the soloist makes his instrument sing, showcasing its full range. His work is a true masterpiece, meticulously sculpting each sound with precise attack and great agility. The second movement, attacca,offers a lyrical, languorous theme in which Johsnon highlights the orchestra’s timbre, while leaving the necessary space for Antoine Bareil to unfold his playing. Communication was visible and symbiotic between the two partners, despite certain moments when it seemed that the tempo was pressing a little. Concluding with a virtuosic third movement tinged with an almost humorous veneer, this was a captivating performance that kept the audience on the edge of their seats right up to the last note.

The second part of the evening featured Modest Mussorgsky’s Pictures at an Exhibition, originally composed for piano, but frequently performed by large ensembles with orchestration by Maurice Ravel. Typical of program music, the work presents a succession of pieces inspired by different paintings, with musical interludes (promenades) linking the paintings. Unlike other interpretations, in which the theme of the “Promenade” is played in a tightly bound manner, especially when taken up by the strings, Adam Johnson retains the march-like character introduced by the brass in this section, which accentuates the strolling character between the various tableaux. These were all performed with a commitment and dynamic precision that brought out the full richness of the orchestration. To name but a few, Gnomus, with its unusual character, Il vecchio castello, where the duet between alto saxophone (Ludovik Hinse-Lesage) and bassoon (Michel Bettez) was lyrical, Bydlo with its rumbling double basses and cellos framing the growling euphonium (Sébastien Côté) and the Great Gate of Kiev, which concluded the work in a majestic, triumphal march.

In top form, the Orchestre symphonique de Laval made a strong impression for its season opener. The energy, vigour and musicality that enveloped Salle André-Mathieu bode well for the rest of the season.

Photo Credits: Gabriel Fournier

Baroque Pop / Indie Rock / Musiques du Monde / psychédélique

Vampire Weekend at Place Bell | Hardened and generous

by Sami Rixhon

Ezra Koenig and his band of vampires set foot on Quebec soil for the first time in five years this Wednesday, as the band presented their fantastic new album, Only God Was Above Us, to the Place Bell audience. For over two hours, Vampire Weekend drew perfectly on their different eras to demonstrate the immense musical palette they are capable of conceiving.

Four days after welcoming the legendary PJ Harvey, the Place Bell audience was once again spoiled by talented American alternative artists, namely the New York trio Vampire Weekend.

The set kicks off at around 8:20 p.m. in classic fashion, with “Campus, Boston (Ladies of Cambridge)” and “One (Blake’s Got a New Face)”, all from their 2007/2008 career. The trio stand in front of a curtain with the band’s name spelled out soberly in white on black, until… well, until the curtain falls on the climax of “Ice Cream Piano”, revealing four more musicians, a retro-futuristic backdrop and another set of spotlights. In the back of our minds, we had a sneaking suspicion that the performance wasn’t going to be quite so conventional throughout. An effect like this in concert is always a big yes.

Vampire Weekend presents hits from its first four albums(Vampire Weekend, Contra, the excellent Modern Vampires of the City and Father of the Bride), but naturally focuses on its latest offering, Only God Was Above Us, released just over five months ago. In all, nine of the opus’ 10 songs will be performed. Let’s talk about the album, by the way: after a slightly more “classic” pop turn with Father of the Bride in 2019, this year the Vampires treated themselves to a return to their roots with indie rock, baroque pop, shoegaze, Latin and Caribbean rhythms… name it. A jewel to be listened to in one go, and personally my album of the year.

Koenig is an excellent frontman, not the most expressive in his movements or attitude, but he does exactly what is asked of him in the case of Vampire Weekend: excel in all styles. Sentimental on “Unbearably White”, reflective on “Mary Boone” and powerful on “Capricorn”. To bring the full musical richness of the tracks to the stage, the musicians move from instrument to instrument, including Ezra Koenig, who takes a saxophone solo on the wacky “New Dorp. New York”. Multi-instrumentalists of the kind you see less and less these days. In my humble opinion, Vampire Weekend are certainly one of the most talented and innovative bands on the alternative scene since 2008, the year of their recording debut.

Between songs, the Vampire Weekend frontman addresses a 9-year-old fan of the band in the audience, who learns that this is her first concert, thanking her for coming. He also takes the opportunity to say hello to the people of Laval, but especially those of Montreal, knowing that Place Bell isn’t particularly full of North Shore residents (also knowing that they’re simply not in Montreal at the moment). It’s little touches like these that confirm that the band doesn’t go completely on autopilot during a tour.

After a two-hour concert, Vampire Weekend close the regular part of their show with “Hope”. One by one, the members leave the stage, until the band’s bassist, Chris Baio, plays the last notes, alone in front of the audience.

As a reminder, Vampire Weekend proposes an original and perilous exercise, to say the least: take any request for songs not written by Vampire Weekend. From “Don’t Look Back in Anger” to “Chop Suey!” not forgetting “So Long Marianne”, “Man! I Feel Like a Woman!” and “I’m Still Standing”. Each time, the interpretations are haphazard, with Koenig admitting every other song that half the band doesn’t know the chords. An amusing, good-will closing.

Until next time, dear Vampires.

PLACE BELL CONCERT SETLIST

1. Campus
2. Boston (Ladies of Cambridge)
3. One (Blake’s Got a New Face)
4. Ice Cream Piano
5. Classical
6. Connect
7. White Sky
8. Step
9. This Life
10. Sympathy
11. New Dorp. New York (SBTRKT cover)
12. The Surfer
13. Unbearably White
14. Oxford Comma
15. Capricorn
16. Gen-X Cops
17. Diane Young
18. Cousins
19. A-Punk
20. Prep-School Gangsters
21. Mary Boone
22. Obvious Bicycle
23. Harmony Hall
24. Hope

RAPPEL

1. Tempted (Squeeze cover)
2. Don’t Look Back in Anger (Oasis cover)
3. So Long Marianne (Leonard Cohen cover)
4. Here Comes Your Man (Pixies cover)
5. Chop Suey! (System of a Down cover)
6. How You Remind Me (Nickelback cover)
7. Dangerous Night (The Night Is a Knife cover)
8. The Boys Are Back in Town (Thin Lizzy cover)
9. Man! I Feel Like a Woman! (Shania Twain cover)
10. You’re Still the One (Shania Twain cover)
11. I’m Still Standing (Elton John cover)
12. This Must Be the Place (Naive Melody) (Talking Heads cover)
13. Walcott

Publicité panam

classique

Carte blanche à Marie-Josée Arpin à l’Église Saint-Pie-X

by Rédaction PAN M 360

Marie-Josée est violon-solo associé à l’Orchestre symphonique de Laval depuis 1999. Diplômée du Conservatoire de musique de Montréal dans la classe de Raymond Dessaints, elle poursuit des études à la Longy School of Music de Cambridge au Massachusetts. De retour au pays, elle devient rapidement une pigiste très en demande dans différents orchestres de la région montréalaise et obtient en 2015 le poste de violon-solo à l’Orchestre de Trois-Rivières. Marie-Josée a été second violon du Quatuor Claudel-Canimex de 1989 à 2009 et continue activement à faire de la musique de chambre avec ses collègues de l’Orchestre. Pour clôturer la série des Chambristes de la saison, Marie-Josée nous propose un large répertoire d’œuvres de compositeurs allant de Handel à John Lennon en passant par Mozart et Scott Joplin.

Marie-Josée has been associate concertmaster of the Orchestre symphonique de Laval since 1999. A graduate of the Conservatoire de musique de Montréal in Raymond Dessaints’ class, she went on to study at the Longy School of Music in Cambridge, Massachusetts. Upon her return to Canada, she quickly became an in-demand freelancer with various orchestras in the Montreal region, and in 2015 was awarded the position of violin soloist with the Orchestre de Trois-Rivières. Marie-Josée was second violin with the Quatuor Claudel-Canimex from 1989 to 2009, and continues to perform chamber music with her Orchestra colleagues. To close the season’s Chamber Players series, Marie-Josée offers a wide repertoire of works by composers ranging from Handel and John Lennon to Mozart and Scott Joplin.

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

classique

The Orchestre symphonique de Laval at the Salle André-Mathieu

by Rédaction PAN M 360

In works by composers from the Americas, past and present, come and hear Gershwin’s famous Rhapsody in Blue performed by Quebec jazzwoman Lorraine Desmarais, as well as Dvořák’s popular New World Symphony conducted by

dynamic conductor Naomi Woo.

Dans des œuvres de compositeurs et de compositrices des Amériques, d’hier et d’aujourd’hui, venez entendre la célèbre Rhapsody in Blue de Gershwin interprétée par la jazzwoman québécoise Lorraine Desmarais, ainsi que la populaire Symphonie du Nouveau Monde de Dvořák dirigée par l’étonnante et dynamique cheffe d’orchestre Naomi Woo.

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This content comes from the Orchestre symphonique de Laval and is adapted by PAN M 360.

classique

Helga Dathe at the Église Sainte-Dorothée

by Rédaction PAN M 360

Carte blanche for our second violinist Helga Dathe and her StringKatz ensemble. This quartet, made up of two violinists, a cellist and a pianist, has chosen a repertoire ranging from romantic to popular songs.

Carte blanche à notre second violon Helga Dathe et son ensemble StringKatz. Ce quatuor, formé de deux violonistes, une violoncelliste et une pianiste, a choisi un répertoire allant du romantique à de belles chansons populaires.

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This content comes from the Orchestre symphonique de Laval and is adapted by PAN M 360.

classique

Jean-Philippe Tanguay at Saint-Martin Church

by Rédaction PAN M 360

Second flute and piccolo with the Orchestre symphonique de Laval since its founding, Jean-Philippe also pursues a career as a chamber musician and teacher. A graduate of the Conservatoire de musique de Montréal in Jean-Paul Major’s class, he continued his training in academies and privately with eminent flutists, including Timothy Hutchins, principal flute of the Orchestre symphonique de Montréal. Following his studies, he became an active freelancer on the music scene in the greater metropolitan area, both as an orchestral musician and as a chamber musician. For this second concert in the Chamber Players series this season, Jean-Philippe offers us a program of great variety, made up of works highly representative of the great repertoire for wind quintet, which he himself calls his “mignardises”.

Seconde flûte et piccolo à l’Orchestre symphonique de Laval depuis sa fondation, Jean-Philippe poursuit aussi une carrière de chambriste et de pédagogue. Diplômé du Conservatoire de musique de Montréal dans la classe de Jean-Paul Major, il poursuit sa formation dans des académies et en privé auprès d’éminents flûtistes dont Timothy Hutchins, flûte-solo de l’Orchestre symphonique de Montréal. Suite à ses études, il devient un pigiste actif sur la scène musicale de la grande région métropolitaine autant comme musicien d’orchestre que comme chambriste. Pour ce deuxième concert de la série Chambristes cette saison, Jean-Philippe nous offre un programme d’une grande variété, composé d’œuvres très représentatives du grand répertoire pour quintette à vents que lui-même appelle ses « mignardises ».

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This content comes from the Orchestre symphonique de Laval and is adapted by PAN M 360

Chanson francophone

Caroline Savoie at Maison des Arts de Laval

by Rédaction PAN M 360

Driven by a desire for emancipation, Caroline Savoie will launch her third album, produced by Joe Grass, this autumn. It was in Grande-Digue, in the heart of Acadia where Caroline Savoie grew up, that her new songs were born during the downtime imposed by the pandemic turmoil. The Acadian coast is its own microcosm, an environment with its own history, which operates at its own pace, and it’s in this landscape both generous and austere, in this climate as calm as it is tormented, that she realized that she doesn’t need big fireworks to feel alive. More personal than ever, her new songs are the very embodiment of her desire for independence and to show herself simply as she is. After a decade of over 500 shows across French-speaking Canada and Europe, Caroline Savoie and her three musicians, Marco Gosselin, Donald O’Brien and Alexi Rioux, return to the stage to present the songs of “Bruits blancs”.

Habitée par un désir d’émancipation, Caroline Savoie lancera à l’automne prochain son troisième album, réalisé par Joe Grass. C’est à Grande-Digue, au coeur de l’Acadie qui a vu grandir Caroline Savoie, que ses nouvelles chansons sont nées pendant le temps d’arrêt imposé par les tourments pandémiques. La côte Acadienne est son propre microcosme, un environnement qui a sa propre histoire, qui fonctionne à son propre rythme et c’est dans ce paysage à la fois généreux et austère, dans ce climat aussi calme que tourmenté qu’elle a réalisé qu’elle n’a pas besoin de gros feux d’artifice pour se sentir vivante. Plus personnelles que jamais, ses nouvelles chansons sont l’incarnation même de son désir d’indépendance et de se montrer telle qu’elle est simplement. Forte d’une décennie meublée de plus de 500 spectacles à travers la francophonie canadienne et l’Europe, Caroline Savoie et ses trois musiciens, Marco Gosselin, Donald O’Brien et Alexi Rioux, retrouvent la scène pour présenter les chansons de « Bruits blancs ».

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This content comes from Simone Records and is adapted by PAN M 360.

classique

L’Orchestre symphonique de Laval Presents Histoires dessinées at Salle André-Mathieu

by Rédaction PAN M 360

A concert for the whole family, featuring the talents of illustrator Richard Vallerand, who brings Respighi’s The Birds and Prokofiev’s famous story of Peter and the Wolf, narrated by Talia Hallmona, to life in real time.

Concert pour toute la famille où les talents de l’illustrateur Richard Vallerand seront mis à contribution pour mettre en images, en temps réel, Les oiseaux de Respighi et la célèbre histoire de Pierre et le loup de Prokofiev racontée par Talia Hallmona.

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This content comes from the Orchestre Symphonique de Laval and is adapted by PAN M 360.

classique

L’Orchestre symphonique de Laval Presents Pulcinella at Salle André-Mathieu

by Rédaction PAN M 360

Come and discover a repertoire inspired by Baroque works revisited by 20th-century composers, including Stravinsky’s ballet Pulcinella, performed exceptionally at the OSL in its entirety with orchestra, singers and dancers, all under the direction of the excellent Laval conductor Andrei Feher.

Venez découvrir un répertoire inspiré d’œuvres baroques revisitées par des compositeurs du 20ème siècle dont le ballet Pulcinella de Stravinski donné exceptionnellement à l’OSL dans son intégralité avec orchestre, chanteurs et danseurs, le tout sous la direction de l’excellent chef lavallois Andrei Feher.

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This content comes from the Orchestre symphonique de Laval and is adapted by PAN M 360.

Pop

Ingrid St-Pierre at Salle André-Mathieu

by Rédaction PAN M 360

Ingrid St-Pierre has given birth to the album Reines, in which she tames her own codes: free, loose, delicate and sunny. A new facet of her poetry is revealed and asserted. More assertive, anchored, frontal and direct, the luminous singer-songwriter recounts the beauty that sparkles like a birthday cake.

Intimate and authentic, her new show confers an unprecedented sense of closeness. Almost in dialogue with those who listen to her, Ingrid St-Pierre unfurls a poetry that impresses more and more over the years, as her texts inhabit a growing number of people. She shares a story that we can make our own, and offers a moment of sweetness where we can stop.

C’est dans un nouvel élan qu’Ingrid St-Pierre a donné naissance à l’album Reines, dans lequel elle apprivoise ses propres codes : libres, déliés, délicats et ensoleillés. Une nouvelle facette de sa poésie se révèle et s’assume. Plus affirmée, ancrée, frontale et directe, la lumineuse auteure-compositrice-interprète raconte la beauté qui scintille comme un gâteau d’anniversaire.

Intime et authentique, son nouveau spectacle confère un sentiment de proximité inédit. Presque en dialogue avec ceux qui l’écoutent, Ingrid St-Pierre déploie une poésie qui impressionne de plus en plus au fil des ans, alors que ses textes habitent un nombre grandissant de personnes. Elle partage une histoire que l’on peut s’approprier et offre un moment de douceur où l’on peut s’arrêter.

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This content comes from Simone Records and is adapted by PAN M 360.

classique

L’Orchestre symphonique de Laval Presents Bébé musique at Salle André-Mathieu

by Rédaction PAN M 360

Founded in 2016, the Bébé musique concert is an activity for young and old alike! During the dress rehearsal of the Nordic and Interstellar Legends concert, new parents and families can move around without fear of disturbing their neighbors. A special moment for all, because there’s no age limit for discovering and enjoying the orchestra’s music. Bébé musique will be held from 10 to 11 a.m.

Give your young children the symphonic experience, and let them experience the emotions while discovering the instruments, their timbres and the power of the orchestra.

Fondé en 2016, le concert Bébé musique est une activité adaptée aux petits et grands! Durant la répétition générale du concert Légendes nordiques et interstellaires, nouveaux parents et familles pourront se déplacer sans crainte de déranger leurs voisins. Un moment privilégié pour tous et toutes, car il n’y a pas d’âge pour découvrir et apprécier la musique de l’orchestre. Le Bébé musique se tiendra de 10h à 11h.

Faites vivre à vos jeunes enfants l’expérience symphonique, faites-leur vivre des émotions tout en leur faisant découvrir les instruments, leurs timbres ainsi que la puissance de l’orchestre.

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This content comes from the Orchestre symphonique de Laval and is adapted by PAN M 360.