Medjy à la Place Bell

by Rédaction PAN M 360

Chanteur et compositeur surtout connu pour être membre du duo de musique haïtien Enposib. En 2020, le groupe a sorti son deuxième album Kamasootra, qui a été écouté plus d’1 million de fois sur Spotify. Il est un artiste signé chez Carmination publishing et ENPOSIB music records.

Singer and composer best known for being a member of the Haitian music duo Enposib. In 2020, the group released its second album Kamasootra, which has been listened to over 1 million times on Spotify. He is an artist signed to Carmination publishing and ENPOSIB music records.

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Ce contenu provient de Famous Birthdays et est adapté par PAN M 360

alt-rock / punk pop

Sum 41 à la Place Bell

by Rédaction PAN M 360

Le groupe nommé aux prix Grammy Sum 41 a annoncé la portion canadienne officielle de sa toute dernière tournée mondiale en tant que tête d’affiche, « Tour Of The Setting Sum », qui célébrera la parution imminente de l’album final de la formation, Heaven :x: Hell. Sur l’album le plus ambitieux de Sum 41 à ce jour, Heaven inclut 10 chansons pop punk dynamiques et défiantes, tandis que Hell réunit 10 hymnes heavy metal avec des solos incendiaires, des riffs brutaux et des mélodies accrocheuses. Le groupe s’est maintenu en équilibre sur la ligne entre la pop punk et le metal durant toute sa carrière, et Heaven :x: Hell témoigne du son innovateur et des aptitudes inégalées des musiciens, qui s’imposent comme des pionniers 27 ans après la formation de Sum 41.

Grammy-nominated band Sum 41 has announced the official Canadian leg of its latest headlining world tour, “Tour Of The Setting Sum”, which will celebrate the imminent release of the band’s final album, Heaven :x: Hell. On Sum 41’s most ambitious album to date, Heaven includes 10 dynamic, defiant pop punk songs, while Hell brings together 10 heavy metal anthems with incendiary solos, brutal riffs and catchy melodies. The band has balanced on the line between pop punk and metal throughout its career, and Heaven :x: Hell is a testament to the musicians’ innovative sound and unrivalled skills, establishing themselves as pioneers 27 years after the formation of Sum 41.

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Ce contenu provient d’evenko et est adapté par PAN M 360

pop-opéra

Il Volo à la Place Bell

by Rédaction PAN M 360

Il Volo est l’un des trios italiens les plus célèbres au monde. Les voix extraordinaires de Piero Barone, Ignazio Boschetto et Gianluca Ginoble ont captivé le public sur tous les continents. Avec une carrière pleine de succès, ils ont collaboré avec les plus grandes stars internationales et rempli des arènes dans le monde entier, publiant un total de 13 albums – le dernier, « Ad Astra », sorti le 29 mars par Epic Records/Sony Music Italy. 2024 est une année importante pour le trio. Célébrant leur 15e anniversaire, ils participent au festival de Sanremo avec Capolavoro, une chanson du disque d’or figurant sur l’album Ad Astra. Après avoir débuté à guichets fermés au Theatre Royal Drury Lane de Londres le 6 octobre, Gianluca, Ignazio et Piero ont entamé leur tournée d’automne dans les principales capitales européennes, enregistrant également plusieurs dates à guichets fermés. En 2025, ils reprendront leur musique à l’échelle mondiale avec une tournée mondiale à travers les États-Unis, le Canada et l’Amérique latine.

Il Volo is one of the most famous Italian trios in the world, having captivated audiences on every continent with the extraordinary voices of Piero Barone, Ignazio Boschetto and Gianluca Ginoble. With a career full of successes, they have collaborated with the biggest international stars and filled arenas worldwide, releasing a total of 13 albums – the latest, “Ad Astra,” released March 29 by Epic Records/Sony Music Italy. 2024 marks a significant year for the trio. Celebrating their 15th anniversary, they partecipated in Sanremo Festival with Capolavoro, a Golden Disc song featured on the album Ad Astra. With a sold-out start at the Theatre Royal Drury Lane in London on October 6, Gianluca, Ignazio, and Piero began their fall tour across major European capitals, also recording several sold-out dates. In 2025, they will take their music worldwide again with a World Tour across the USA, Canada, and Latin America.

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Ce contenu provient d’evenko et est adapté par PAN M 360

alt-rock / Art Rock / post-grunge

Our Lady Peace à la Place Bell

by Rédaction PAN M 360

Afin de célébrer ses 30 ans de carrière, l’emblématique groupe rock canadien Our Lady Peace (OLP) a annoncé sa très attendue tournée OLP30, qui débutera en février 2025 avec des concerts à travers le Canada. Arrivant après la parution de OLP30 Vol. One — qui inclut le nouvel extrait « Sound The Alarm » — cette tournée sera un puissant hommage à l’héritage de trois décennies de la formation et une expérience inoubliable pour les fans de longue date et les plus jeunes.

To celebrate their 30-year career, iconic Canadian rock band Our Lady Peace (OLP) have announced their highly anticipated OLP30 tour, which kicks off in February 2025 with concerts across Canada. Coming on the heels of the release of OLP30 Vol. One – which includes the new single “Sound The Alarm” – this tour will be a powerful tribute to the band’s three-decade legacy and an unforgettable experience for long-time fans and younger alike.

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Ce contenu provient d’evenko et est adapté par PAN M 360

alt-rock / Indie

Mother Mother à la Place Bell

by Rédaction PAN M 360

Le groupe rock alternatif canadien Mother Mother a annoncé qu’il retournera sur la route en 2025 et effectuera de nouveaux arrêts à travers le Canada afin de faire la promotion de son plus récent album, Grief Chapter. Grief Chapter marque le début d’un nouveau chapitre de l’histoire en constante évolution de Mother Mother, qui peut compter sur un bassin de jeunes admirateurs passionnés qui ont naturellement créé une communauté inspirée par les chansons du groupe. Musicalement, les 12 chansons de Grief Chapter sont parmi les plus dynamiques de la formation.

Canadian alternative rock band Mother Mother has announced that it will return to the road in 2025, making further stops across Canada to promote its latest album, Grief Chapter. Grief Chapter marks the beginning of a new chapter in the ever-evolving story of Mother Mother, who can count on a pool of passionate young fans who have naturally created a community inspired by the band’s songs. Musically, the 12 songs on Grief Chapter are among the band’s most dynamic.

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Ce contenu provient d’evenko et est adapté par PAN M 360

classique

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.

TO BUY YOUR TICKET, CLICK HERE!

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