Montréal

classique / Contemporary

SMCQ : Dialogues intergénérationnels – Carte blanche à Cristian Gort à la salle Pierre-Mercure

by Rédaction PAN M 360

Pour le dernier concert de sa série hommage spéciale 60e anniversaire, la SMCQ donne carte blanche au chef titulaire de l’Ensemble de la SMCQ, Cristian Gort, dans un programme qui, à l’instar de l’ensemble de sa saison, met en synergie les œuvres de plusieurs générations de compositeurs. Ce programme comportera notamment une création d’une commande de la SMCQ au compositeur Frédéric Lebel. Un concert qui s’annonce fascinant et explosif!

For the final concert of its special 60th-anniversary tribute series, the SMCQ is giving carte blanche to the Ensemble de la SMCQ’s principal conductor, Cristian Gort, in a program that, like the season as a whole, brings together works by several generations of composers. The program will include the world premiere of a new SMCQ commission from composer Frédéric Lebel. A concert that promises to be fascinating and explosive!

Programme

Circuits parallèles (2007), 16:00
Nicolas Gilbert
flûte, hautbois, clarinette, basson, cor, trompette, 2 pianos, 2 percussions, 2 violons, alto, violoncelle et contrebasse
Commande: SMCQ
Manipulation (2022), 9:00
Florence M Tremblay
flûte, clarinette, percussions, piano, violon et violoncelle
Accident (Tombeau de Grisey) (2004), 15:00
John Rea
2 clarinettes, cor, trompette, trombone, percussions, piano, 2 violons, alto, violoncelle et contrebasse
Commande: Festival MNM — Société Radio-Canada (SRC), Festival Présences — Radio France
De la fougue (2026), 15:00
Frédéric Le Bel
piano, flûte, hautbois, clarinette, basson, cor, trompette, trombone, percussions, 2 violons, alto, violoncelle et contrebasse
Création
De la texture (2007), 17:00
Philippe Leroux
flûte, clarinette, guitare, percussions, piano, violon, alto et violoncelle

Program

Circuits parallèles (2007), 16:00
Nicolas Gilbert
flute, oboe, clarinet, bassoon, horn, trumpet, 2 pianos, 2 percussions, 2 violins, alto, cello and double bass
Commission: SMCQ
Manipulation (2022), 9:00
Florence M Tremblay
flute, clarinet, percussion, piano, violin and cello
Accident (Tombeau de Grisey) (2004), 15:00
John Rea
2 clarinets, horn, trumpet, trombone, percussion, piano, 2 violins, viola, cello and double bass
Commission: Festival MNM — Société Radio-Canada (SRC), Festival Présences — Radio France
De la fougue (2026), 15:00
Frédéric Le Bel
piano, flute, oboe, clarinet, bassoon, horn, trumpet, trombone, percussion, 2 violins, alto, cello and double bass
Premiere
De la texture (2007), 17:00
Philippe Leroux
flute, clarinet, guitar, percussion, piano, violin, alto and cello

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de la Société de musique contemporaine du Québec et est adapté par PAN M 360

classique / Modern music / saxophone

OSM : Tableaux d’une exposition

by Rédaction PAN M 360

Dans cet Apéro Symphonique de 60 minutes, venez découvrir le talent du lauréat du Concours OSM 2024, Jason Xu, avec la Ballade de Frank Martin, mettant en valeur toute la richesse technique du saxophone. Camille Pépin vous plongera quant à elle dans l’énergie vibrante de Vajrayana tandis que Moussorgski vous transportera dans son musée imaginaire avec Tableaux d’une exposition, une œuvre puissante rehaussée par de somptueuses couleurs orchestrales.

In this 60-minute Symphonic Happy Hour, experience the extraordinary talent of Jason Xu, winner of the 2024 OSM Competition, as he brings out the full technical richness of the saxophone in Frank Martin’s Ballade. Camille Pépin will captivate you with the vibrant energy of Vajrayana, while Mussorgsky will take you on a journey through his imagined museum with Pictures at an Exhibition, a stunning work enriched by beautiful orchestral colours.

Programme

Camille Pépin, Vajrayana (12 min)
Frank Martin, Ballade pour saxophone et orchestre (13 min)
Modeste Moussorgski (arr. Maurice Ravel), Tableaux d’une exposition (35 min)

Program

Camille Pépin, Vajrayana (12 min)
Frank Martin, Ballade for Saxophone and Orchestra (13 min)
Modest Mussorgsky (arr. Maurice Ravel), Pictures at an Exhibition (35 min)

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

classique / période romantique

OSM : Wagner et la légende de l’Anneau

by Rédaction PAN M 360

Le Ring sans paroles est une suite orchestrale composée à partir des thèmes musicaux les plus marquants de la tétralogie L’Anneau du Nibelung de Richard Wagner. Cette version condense l’essence musicale de l’œuvre monumentale de près de 15 heures en une fresque symphonique de 70 minutes.
Le Ring de Wagner c’est la quête et la malédiction de l’anneau de pouvoir. Cet anneau magique forgé par le nain Alberich avec l’or volé du Rhin donne un pouvoir absolu, mais apporte ruine et destruction à ses possesseurs. Wotan, roi des dieux, tente de contrôler l’anneau, mais son plan échoue et mène à la chute des dieux. Le héros Siegfried, manipulé et trahi est tué par Hagen, fils d’Alberich. Sa veuve la walkyrie Brünnhilde, fille de Wotan, restitue l’anneau aux eaux du Rhin, scellant ainsi la fin d’un monde.
Le Ring sans paroles offre une immersion intense dans cet univers wagnérien, mettant en valeur les moments les plus emblématiques en une seule symphonie, le prélude de L’or du Rhin, La Walkyrie, Siegfried et la fin apocalyptique du Crépuscule des Dieux. Entre le lyrisme exalté du Concerto de Schumann, interprété par le pianiste Yefim Bronfman, et le pouvoir destructeur de l’or dans Le Ring de Wagner, des forces opposées se déchaînent pour un concert de clôture qui marquera une fin de saison spectaculaire ! 

The Ring Without Words is an orchestral suite that distills the most iconic themes from Richard Wagner’s monumental tetralogy, The Ring of the Nibelung. This 70-minute symphonic fresco encapsulates the essence of the 15-hour epic, telling the tale of a magical ring forged by the dwarf Alberich from gold stolen from the Rhine. While the ring grants immense power, it also brings ruin and destruction to those who possess it. Wotan, the king of the gods, attempts to control the ring but fails, leading to the gods’ downfall. Betrayed and manipulated, the hero Siegfried is killed by Hagen, son of Alberich. Brünnhilde, the Valkyrie, daughter of Wotan and wife of Siegfried, returns the ring to the Rhine, marking the end of an era. The Ring Without Words offers an immersive journey through Wagner’s world, highlighting its most memorable moments, including the prelude to Das Rheingold, the Ride of the Valkyries, Siegfried’s death and funeral music, and the apocalyptic conclusion in Twilight of the Gods. In a thrilling season finale, the soaring lyricism of Schumann’s Piano Concerto, performed by pianist Yefim Bronfman, contrasts with the destructive power of gold in Wagner’s epic, creating a stunning clash of opposing powers.

Programme

Robert Schumann, Concerto pour piano, op. 54 (31 min)
Richard Wagner, Le Ring sans paroles (70 min)

Program

Robert Schumann, Concerto for Piano, Op. 54 (31 min)
Richard Wagner, The Ring Without Words (70 min)

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

orchestre / Prog Rock

Festival Classica : L’Heptade intégrale d’Harmonium au Théâtre St-Denis

by Rédaction PAN M 360

Vivez un moment historique avec L’Heptade intégrale d’Harmonium, présentée pour la toute première fois dans son entièreté sur scène. Portée par les arrangements de Neil Chotem, cette œuvre culte renaît dans une version saisissante réunissant orchestre symphonique, formation rock, chanteurs et choristes. Sur scène, quatre membres d’Harmonium et des artistes de la nouvelle génération unissent leurs forces, tissant un pont vibrant entre passé et présent. Un rendez-vous d’exception, où poésie, rock symphonique et puissance sonore s’accordent pour un moment d’émotion inoubliable.

Experience a historic moment with L’Heptade intégrale by Harmonium, presented for the very first time in its entirety on stage. Guided by Neil Chotem’s arrangements, this cult masterpiece is reborn in a striking version that brings together a symphonic orchestra, rock ensemble, singers, and choristers. On stage, four members of Harmonium join forces with artists of the new generation, creating a vibrant bridge between past and present. This is an exceptional event where poetry, symphonic rock, and sonic power come together for an unforgettable emotional experience.

LES BILLETS POUR CES SPECTACLES SONT ÉPUISÉS!

Ce contenu provient de l’Espace St-Denis et est adapté par PAN M 360

art rock / hommage / Prog Rock

The Dark Side of the Moon Experience au Studio-Cabaret

by Rédaction PAN M 360

Le groupe Echoes – Hommage à Pink Floyd est présent sur la scène québécoise depuis 2005. Au cours de ces années le groupe présenta des centaines de spectacles dans des salles, des festivals et des événements corporatifs, un peu partout à travers le Canada. Echoes est composé de talentueux musiciens, soucieux de reproduire fidèlement l’œuvre musicale de Pink Floyd, accompagnée de son et des visuels d’une grande qualité! Le spectacle The Dark Side of the Moon Experience vous transportera dans l’univers de ce légendaire album culte, acclamé à travers le monde entier.  Pour ce spectacle unique s’ajouteront de superbes nouveaux effets visuels sur les écrans du Studio-Cabaret, offrant une expérience totalement immersive où l’imaginaire culte de Pink Floyd prendra vie. L’intégral de l’album sera précédé d’une première partie constituée d’autres grandes œuvres de Pink Floyd.

The band Echoes – A Tribute to Pink Floyd has been active on the Québec music scene since 2005. Over the years, they have performed hundreds of shows in venues, festivals, and corporate events across Canada. Echoes is made up of talented musicians dedicated to faithfully reproducing Pink Floyd’s music, accompanied by high-quality sound and visuals. The show The Dark Side of the Moon Experience will transport you into the universe of this legendary, cult album, celebrated worldwide. For this unique performance, stunning new visual effects will be added on the Studio-Cabaret screens, creating a fully immersive experience where Pink Floyd’s iconic imagination comes to life. The complete album will be preceded by a first set featuring other major works from Pink Floyd.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de l’Espace St-Denis et est adapté par PAN M 360

classique / post-romantique

Grieg, soleil nordique à la Maison symphonique

by Rédaction PAN M 360

Les plus belles musiques du compositeur norvégien sont illuminées par l’interprétation de la pianiste Michelle Cann, récipiendaire d’un Prix Grammy, et de la cheffe Lina Gonzalez-Granados. Dès les premiers accords de son Concerto pour piano, Grieg fait savoir au public qu’il s’apprête à entendre une œuvre hors du commun. Par cet appel d’accords descendants devenu célébrissime, la formidable pianiste Michelle Cann capte l’attention en un instant. Mais avant tout, la cheffe Lina Gonzalez-Granados met la table avec la fameuse Suite de Peer Gynt du même compositeur et l’Ouverture en ré mineur de la Croate Dora Pejačević. Dans sa Symphonie no 2, le Danois Carl Nielsen s’inspire d’un courant de la psychologie selon lequel on pourrait diviser les personnalités en quatre tempéraments. Chaque mouvement de l’œuvre est inspiré par l’un d’eux. La fougue du colérique, la nonchalance du flegmatique, les tourments du mélancolique et l’assurance du sanguin se succèdent en utilisant toute la palette des couleurs orchestrales.

The Norwegian composer’s finest music is illuminated by Grammy Award-winning pianist Michelle Cann and conductor Lina Gonzalez-Granados. In the opening chords of his Piano Concerto, Grieg informs the audience that something extraordinary is about to unfold. With the iconic descending chordal motif, the formidable pianist Michelle Cann seizes attention in an instant. But first, conductor Lina Gonzalez-Granados sets the stage with Grieg’s famous Peer Gynt Suite and the stirring Overture in D Minor by Croatian composer Dora Pejačević. In his Symphony No. 2, Danish composer Carl Nielsen drew inspiration from the psychological theory of the four temperaments. Each movement reflects one of these personality types—the fiery passion of the choleric, the nonchalance of the phlegmatic, the torment of the melancholic, and the confidence of the sanguine—all brought to life through the full palette of orchestral colours.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de la Place des Arts et est adapté par PAN M 360

Caribbean / Haitian

Wesli Turns Haitian History into Collective Celebration

by Juliana Cortes

The May long weekend usually announces the start of spring: flowers bloom, trees fill with vibrant green leaves, and the city begins to feel alive. This year, my weekend was marked by Makaya, the latest album from Montreal-based Haitian artist Wesli, as well as Haitian Flag Day on May 18, the day Haitians celebrate the creation of their flag during the Haitian Revolution in 1803.

With his iconic hat and glasses, Wesli blessed the audience with a performance that traveled through rhythms, blending African and Haitian traditions with more modern sounds. Through this musical voyage, he emphasized the ways our present remains deeply influenced by history, especially in Montreal, where culture — and music in particular — is deeply embedded in the city’s large Haitian community.

During the concert, Wesli explained the meaning of Makaya. In Kikongo, the word means “leaf.” In Haiti, it also refers to a mountain and to the gatherings where Maroons organized during the Haitian Revolution. Wesli said, “There had to be Makaya, for people to be spiritually healed and liberated.”

Anchored in history and memory, Wesli was joined onstage by Senegalese artist Ilham. With his soulful voice, they performed the Coupe Cloue song “Mon compè.” I was deeply moved by this performance because one of my favorite artists, Joe Arroyo, created “A mi dios todo le debo,” a song highly influenced by Coupe Cloue’s music. This moment transported me directly to my childhood in Colombia.

At that moment, I stopped taking notes and stood up to dance, remembering family gatherings shaped by Joe Arroyo’s music. It is only in the last few years that I discovered how deeply this music had been influenced by Haiti. Learning about this connection felt like finding a missing piece of the puzzle, allowing me to better honor the music that had given me so much joy and connection throughout my life.

Wesli was also joined by Gaya, a wholesome singer and dancer who illuminated the stage with her energy and movement. The two have known each other for nearly 20 years, dating back to when they first began making music. Master percussionist Ronald Nazaire also took the stage, sharing ancestral knowledge through the drum. Nazaire needed no words to convey the depth and spirituality of his music.

Another highlight of the night was the band itself. Every musician shone individually, but what stood out most was the complicity between Wesli and his bandmates. Their playful and energetic interactions were contagious. Wesli generously gave space to each musician through solos and dance moments, allowing every performer to bring their own presence and energy to the stage. Everyone was shining.

So while Canada celebrated Queen Victoria, the Theatre Plaza became a space to celebrate Haitian history, memory, and musical inheritance.

breakcore / Electro-Punk / Electronic

Palomosa 2026: Femtanyl is Digital Chaos

by Félicité Couëlle-Brunet

Femtanyl was probably one of the most unpredictable acts on the lineup. At first glance, the name immediately brings to mind fentanyl, which creates a certain unease and makes one wonder why they would choose such a heavy-handed reference for a musical project. But this ambiguity almost becomes a gateway into their raw, chaotic, yet deeply human world.
The duo—composed of Juno Callender on drums and Noelle Stockwood on vocals—offers a surprisingly simple yet extremely effective formula. The live drums provide an immediate physical energy, while the vocals cut through aggressive, saturated, glitchy digital textures. Their sound evokes digital hardcore, but with an almost euphoric dimension, as if the sonic violence also becomes a space for emotional release.

There is an “emo” quality to their performance in the most sincere sense of the word: a way of addressing real issues without trying to sugarcoat the emotion. Here, the aesthetic seems to emerge directly from emotional intensity rather than from an artificial construct. The visual and sonic chaos thus becomes a natural extension of the feelings expressed on stage. References to video games, digital interfaces, and glitch aesthetics play a major role in this universe. In an interview with BACKLIGHT, Noelle Stockwood mentions an interest in cyberpunk universes and video game music, which is clearly evident in the way their compositions create almost interactive atmospheres.
Beyond the noise and intensity, what stood out most was the band’s connection with the audience. There was a palpable focus on crowd etiquette, respect for others, and the creation of a safe space despite the concert’s explosive energy. The crowd’s movement seemed guided by the band’s intentions rather than by uncontrolled aggression. This sensitivity, linked in part to discussions about neurodiversity within their community, gave the concert a surprisingly caring atmosphere. Behind the digital chaos, there was above all a very clear desire to create a collective space where emotion could be fully experienced.

Photo by Play Fille

Bass House / Drum & Bass / Electro-Pop / Electronic / House / jungle / Pop

Palomosa 2026: Just Warming Up With Cirque Cosmic, Chippy Nonstop, and X-Coast

by Z Neto Vinheiras

Last Thursday, the 14th was the first day, a teasing warm-up for Palomosa festival, held at Jean Drapeau’s Park until Saturday. The short lineup attracted a loyal crowd of high-spirited Gen Z flocks prompt for the reveries of early and after hours. Cirque Cosmic opens the stage at Banque National – I only wish it were darker and later; a warm-up that deserved a warm-up. Drawing both continuum and momentum with grounding bass lines and EDM charms, it’s a real tease to start the night.

Passing it on to Chippy Nonstop, just a little bit faster, a little bit harder and extremely eclectic, blurring the boundaries between house, pop, ambient, dub, and bass. The crowd morphs from dancy and flexible to jumpy and bouncy. The only constraint about the first day is that it remains in the same spot pretty much all the time. For those who like to move around and have the experience from close and afar, Palomosa is a good hybrid in this sense—in the heart of Jean-Drapeau’s park and on a first day where the entry to the festival is done pretty swiftly with no queues, one could easily take a walk or a bike ride around the park and still be part of the reverie; the low frequency punches travelling through the green wet hills make an experience be mystic and worth of stories with the sonic-land-scape.

Back to the stage and directly from Dublin, Tommy Holohan is riding a crescendo with a classic drop formula, ecstatic and kinda romantic, the crowd concentrates the heat in the front by this time and we get into the emotional part of the night—from techno to jungle and rave, that’s an electric and nostalgic set under the rain just before the closure by Serbian-born and Brooklyn-based X-Coast, shining in their red vest and showcasing their versatility through techno, drum & bass and house, providing the needed discharge to tease it up for more the next day.

Photo of Cirque Cosmic by Play Fille

A Cappella / classic rock / hommage

Ensemble ArtChoral : Beatles a cappella à la Maison symphonique

by Rédaction PAN M 360

Laissez-vous emporter par Ensemble ArtChoral dans un hommage a cappella électrisant aux Fab Four, revisitant leurs plus grands succès avec la magie des voix humaines. Sous la direction inspirée de Matthias Maute, ce concert fait briller les harmonies et l’héritage des Beatles sous un jour inédit.

Join Ensemble ArtChoral for a vibrant a cappella tribute to the Fab Four, reimagining their greatest hits with the power of the human voice. Under the inspired direction of Matthias Maute, this concert celebrates the timeless melodies, harmonies, and spirit of The Beatles in a whole new way.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de la Place des Arts et est adapté par PAN M 360

musique de jeux vidéo

Distant Worlds : musique de FINAL FANTASY à la salle Wilfrid-Pelletier

by Rédaction PAN M 360

Célébrez la musique de Final Fantasy XIV et XVI du célèbre compositeur Masayoshi Soken! Dirigé par le légendaire maestro Arnie Roth et interprété par l’Orchestre et le Chœur FILMharmonique, ce concert comprend également des œuvres emblématiques de Nobuo Uematsu, Masashi Hamauzu, Yoko Shimomura et d’autres grands noms de la musique. Shimomura, et d’autres grands compositeurs de toute la série Final Fantasy. Le concert mettra également en vedette Amanda Achen, chanteuse originale de Final Fantasy XIV et XVI.

Celebrate the music of FINAL FANTASY XIV and XVI by renowned composer Masayoshi Soken! Led by legendary maestro Arnie Roth and performed by the FILMharmonique Orchestra and Choir. This concert features iconic works by Nobuo Uematsu, Masashi Hamauzu, Yoko Shimomura, and other great FINAL FANTASY composers from throughout the FINAL FANTASY series. The performance will also feature original FINAL FANTASY XIV and XVI vocalist Amanda Achen.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de la Place des Arts et est adapté par PAN M 360

Baroque / classique

Arion Orchestre Baroque : Le Roi danse à la salle Bourgie

by Rédaction PAN M 360

À l’occasion du 300e anniversaire de la mort de Michel-Richard de Lalande, Arion renouvelle sa collaboration fructueuse avec le Centre de musique baroque de Versailles en présentant deux œuvres rares autant que magnifiques du grand compositeur français. L’on découvrira les beautés et splendeurs de la pastorale L’amour fléchi par la constance, créée en 1697, et des extraits du Ballet de la jeunesse, présenté à Versailles pendant le Carnaval en janvier 1686. Interprétées ici avec le concours de quatre voix lyriques exceptionnelles sous la direction de Mathieu Lussier, ces œuvres se démarquent autant par la grâce des lignes vocales que par la richesse des couleurs orchestrales.

On the occasion of the 300th anniversary of Michel-Richard de Lalande’s death, Arion renews its fruitful collaboration with the Centre de musique baroque de Versailles by presenting two rare yet magnificent works by the great French composer. Audiences will discover the beauty and splendor of the pastorale L’amour fléchi par la constance, premiered in 1697, along with excerpts from the Ballet de la jeunesse, performed at Versailles during Carnival in January 1686. Brought to life here with the participation of four exceptional vocal soloists under the direction of Mathieu Lussier, these works stand out as much for the grace of their vocal lines as for the richness of their orchestral colors.

Programme/program

Michel-Richard de Lalande (1657-1726)
L’amour fléchi par la constance, S. 143
Ballet de la jeunesse, S. 136

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

Subscribe to our newsletter

Inscription
Infolettre

"*" indicates required fields

Type of Suscribers