Tunisian Goddess Emel Presents MRA

by Sandra Gasana

If there’s one thing Emel Mathlouthi has mastered, it’s the art of staging a performance worthy of a tragedy. Accompanied by her two musicians, on drums and keyboards, Emel Mathlouthi, known as “the voice of the revolution”, made a spectacular entrance on stage, adding lighting effects, and appearing like a goddess on top of her throne. Wearing a sophisticated crown and an antique-style white dress from the 15th century, the Tunisian artist presented her most recent album Mra, which means woman in Arabic, released in 2024 and produced entirely by a team of women.

Always with a screen behind her, her voice is rarely in its natural state, and she uses a lot of reverb and plays with her microphone, adding an enigmatic effect to her universe in which trap, hip hop and drum n’bass cohabit harmoniously. Emel really gets into her character and lets herself go, inserting saccadic dance movements on several tracks. She taps her drum at times, complementing the work of her drummer and adding to the danceable effect.

At the end of the third song, the audience starts to dance, in contrast to the somewhat solemn style of the first two tracks. Emel also adds pre-recorded sounds that merge with the looped images, a true sensory cocktail. Most of her songs are in Arabic, but she also sings in English, a language she masters as well as French. In fact, she switches from one to the other when addressing the audience.

Unfortunately, Naya Ali, who was due to perform, was unable to attend after all. That said, one of the highlights of the concert was when artist Narcy took to the stage for the track Yemenade. And that’s when the evening took a turn for the better, as his energy was felt throughout the room. He managed to get us singing, dancing, all in one song, while Emel danced behind him, banging her golden drum.

The other artist I was looking forward to seeing again was Ziya Tabassian. Also performing on four tracks, he added a traditional Middle Eastern touch to the show. He was perfectly attuned to the drummer’s rhythms, with whom he exchanged glances.

“I hope you like crazy percussion like we do! We don’t know how it sounds from your end, but we like it,” she says between songs. “I can’t seem to make soft songs, I can’t help it,” she confides.

During the song Souty, which means “My voice”, she scrolls through sheets on which it is written “My voice is time less like the wind” among other words, as if these were the lyrics of the song. She also takes the opportunity to mention the names of prisoners on some of the sheets.

Emel took the time to share a message from a Palestinian activist who wrote to her to give her the state of play. Indeed, Palestine was the backdrop throughout the show, including during the opening set by Checkpoint 303, a DJ duo who set the table for Emel’s performance. My favorite song is Mazel, which means Again, and speaks of the hope she still carries within her, and the new tomorrow she intends to build. In the background, we could see the faces of activist women from all over the world.

She finished with Rise, involving the audience on the chorus, before giving us an audience-pleasing encore. I was expecting to see a packed National, but that wasn’t the case. But one thing’s for sure: the people who were there went home satisfied with their evening.

Photo Credit: Ola

Choral Music / Classical / trad québécois

Sacré Gilles Vigneault | Between Natashquan and Buenos Aires

by Judith Hamel

Sacred music sometimes tells us more than the catechism. It brings us together, it uplifts us, it reminds us that we are here, together. This Saturday evening, the Chœur Métropolitain invites us to a double mass at the crossroads of the Americas. A meeting of the Argentinian and Quebecois peoples, these Masses bring the rhythms of everyday life to life, blending European traditions with local folklore.

But the real star of the evening was Gilles Vigneault. A charming old lady sitting beside me whispered in my ear: “Monsieur Vigneault is here! People in the front, in the back, turn around and pull out their phones to capture the presence of this legend. Even before the first note rings out in the Maison symphonique, an ovation rises to salute this great man who forged the Quebec nation.

The first part of the concert was devoted to Argentina, through the music of four of its composers: Carlos Guastavino, Astor Piazzolla, Juan de Dios Filiberto and Ariel Ramírez.

The concert opens on a note of wonder and contemplation, with Carlos Guastavino’s Indianas. His charming melodies sing to us of the apple through love lyrics and nature metaphors. In Astor Piazzolla’s Oblivion, a work originally written for bandoneon, the arrangement for choir and solo voice with soprano Myriam Leblanc bewitched us from the very first note with its pure, colorful timbre. This melancholy version makes the work’s theme of forgetting resonate like sweet nostalgia. With Caminito de Juan de Dios Filiberto, the dynamic changes. This light-hearted song, rooted in the tango tradition, adds a lively, convivial touch to the concert.

Finally, before the Quebec mass, Ariel Ramírez’s Misa Criolla concludes the first part. Like Gilles Vigneault with his native land of Natashquan, Ramírez explores the mix of cultures, between Indigenous roots and European heritages. The work surprises with rhythmic dance sections alternating with lyrical passages. Soloists Antonio Figueroa (tenor) and Emanuel Lebel (baritone) complemented each other beautifully. This lively mass, rooted in local traditions, deserves to be heard again and again.

Like Ramirez, Vigneault weaves the threads of people who are both Indigenous and European in this mass that evokes our northern winds and the prayers of ordinary people. Presented in its world premiere, this new arrangement of the High Mass by Sebastian Verdugo takes on a light, colorful form, where the textures of the choir mingle with those of guitars, charango, piano, double bass, violin and percussion. While most of the mass retains a traditional structure and texts, some tunes are transformed into rigodon accompanied by spoons and folk guitar, which pleasantly surprises listeners.

Rooted in Vigneault’s memory of Natashquan, the first and last part includes lyrics in Innu: “Shash anameshikanù. Matshik! Ituték! Minuatukushùl etaiék.” (Now that the Mass is said, Go live in peace on earth).

Finally, after waiting patiently for their moment, the Vincent-d’Indy choristers joined the musicians for the final songs of the concert. Under the sensitive arrangements of François O. Ouimet, several emblematic Gilles Vigneault songs were performed, ending, of course, with Gens du pays. With their eyes riveted on Vigneault, the entire audience stood to sing him our anthem, which is celebrating its 50th anniversary this year, as is the Alliance chorale du Québec. It was a touching moment in which we felt the love of a people for our Quebec, but above all for the man who gave birth to the hymn we all know so well.

Baroque / Classical / Modern Classical / période romantique

Les Violons du Roy and Antoine Tamestit | A Gripping and Profound Performance

by Alexandre Villemaire

Two years after a musical encounter that was described as masterful, French violist Antoine Tamestit, considered one of the world’s finest, returned to the Quebec stage with Les Violons du Roy. Presented on Thursday evening in Quebec City, this same concert, which took place on Friday evening at Salle Bourgie, featured themes such as death, loss and departure: themes which, despite their dark side, are nonetheless necessary to address, and in which we can nonetheless find light and a form of humanity.

Without preamble, once the orchestra and Tamestit had taken the stage, the hall was plunged into darkness, with the only source of light the lamps on the musicians’ lecterns. This set the stage perfectly for the first piece of the concert, Johann Sebastian Bach’s chorale Für deinen Thron ich tret’ich hiermit [Lord, here I stand before your throne], arranged for strings. According to Antoine Tamestit, in his speech following this short piece by Bach, he wanted to create a sensory experience in which the audience and musicians were led to feel the music through their breathing, through the intrinsic energies of the movement of the musical lines. The moment was indeed soothing, with a sound that was relentlessly gentle, yet rich in harmonies and low tones. The soloist, who also acted as conductor for the first part, followed with Paul Hindemith’s Trauermusik for viola and strings, composed a few hours after the death of King George V. We then enter another universe and harmonic language, with varied textures and musical materials, ending with a quotation from the same Bach chorale.

Tamestit then invited the audience to take part in an aural treasure hunt with Benjamin Britten’s Lachrymae, in which the composer quotes, in the form of variations, the song by Elizabethan composer John Dowland, If my complaints could passions move. To provide context, he performed the original in an arrangement of his own, preceded by the beautiful Flow my tears. A particularly touching moment, in which Tamestit’s sensitive playing came to the fore as the strings accompanied him in pizzicato. In Britten’s piece, Tamestit invited listeners to try and spot the musical extracts of these Renaissance songs scattered throughout Britten’s work. There was a strong appeal to pique listeners’ attention and invite them to open their ears wide to this universe of sound. His interpretation of the musical lines, with their enveloping thickness of sound and pure, fleshy grain, showed an invested and sensitive musicality. It has to be said, however, that Britten won the game of musical hide-and-seek, with Dowland’s excerpts remaining difficult to identify, even for seasoned ears.

The pièce de résistance of the concert was Tamestit’s arrangement for string orchestra of Johannes Brahms’ String Quintet in G major. For this final piece, in which Antoine Tamestit joins the viola section, we were treated to a blaze of emotions and luminous vivacity, particularly in the first and last movements, while the central movements – Adagio and Un poco allegretto – flirted with Hungarian folk accents and melancholy affects respectively. In this new texture with its increased sound amplitude, playing with 21 instrumentalists together without a conductor is a challenge that Les Violons du Roy met with brio and aplomb, producing a particularly rousing and gripping result, especially in the last movement, which is extremely dance-like with gypsy inflections.

The warm ovation from the audience and the radiant smiles on the musicians’ faces made this second collaboration between Antoine Tamestit and Les Violons du Roy well worth repeating. Having begun in darkness and contemplation, the concert ended in great light and human energy. Bringing out the beauty of a program that traces in filigree the themes of death and loss is not in itself innovative. But in this program, imbued with a skilful organicity, where we are naturally transported from one state of mind to another, we are reminded that even in the darkest moments, we can find beauty. To quote Félix Leclerc: “C’est grand la mort, c’est plein de vie dedans.”

Photo Credit : Pierre Langlois

Baroque / Choral Music / Classical / Classical Singing / Sacred Music

Ensemble Caprice | A Beautiful Evening of Passion

by Alexis Desrosiers-Michaud

Just two weeks away, Ensemble Caprice and Matthias Maute prelude the Easter celebrations with a presentation of Johann Sebastian Bach’s St. John Passion. In his opening address, Maute recounts that this work has many links, especially in the arias, with the art of opera. As he told us earlier in the interview, “The St. John Passion alternates recitative, arias and choruses to carry the story with intensity. The recitatives tell the story, the arias express the emotions of the characters, and the choruses embody the crowd, reinforcing the drama. The orchestra supports the whole with expressive writing that underlines the key moments.” The proof was shown on Friday.

In the absence of staging, characteristic of the oratorio, a narrator – in this case, the Evangelist – is needed to describe the scenes. Supporting the entire work on his shoulders, tenor Philippe Gagné rises to the challenge of interpreting this thankless but oh-so-important role. His intention to really tell a story is clear, with impeccable German diction, and he lets the textual phrases dictate his interpretation, rather than following the score, placing absolute trust in the continuo.

The other discovery of the evening was chorister-soloist William Kraushaar – whose composition had captivated us at the last Caprice concert – in the role of Jesus. Not only is his voice clear, but God, it carries! We’re already looking forward to hearing him as a soloist next season. Countertenor Nicholas Burns and soprano Janelle Lucyk deliver their arias with great emotion. Burns is very moving in duet with the mournful viola da gamba in Es ist vollbracht (“All is finished”). As for Lucyk, her voice is somewhat restrained, but blends well with the flutes in the aria Ich folge dir gleichfalls (“I follow you”). These two soloists not only deliver their arias with musicality, but also with a spellbinding, moving stage presence.

The chorus is very well prepared, and the dry articulations given to it fit well with the role it occupies, that of the plebeian ordering and cheering the action of the biblical tale. The best example is the track “Kreuzige” (Cruxify it!), where the short, accented articulations are incisive.

At the very end of the work, there was something solemn about seeing the soloists (except for John the Evangelist) join the chorus in a dancing Rut Wohl, and the final chorale, in accompaniment, thanksgiving and celebration of Christ’s life.

Photo: Tam Lan Truong

Classical Singing / Contemporary

Nouvel Ensemble Moderne | New Songs for a New Era

by Judith Hamel

The Nouvel Ensemble Moderne (NEM) is writing the first pages of a new book in this 2024-2025 season, divided into three chapters and driven by the wind of renewal of Jean-Michaël Lavoie, who succeeds Lorraine Vaillancourt after 35 years at the helm of the chamber orchestra. For the second chapter of three this season, the NEM invites us to the Cinquième salle at Place des arts for a concert in collaboration with the Atelier lyrique de l’Opéra de Montréal.

Entitled Chapitre 2 – Des airs nouveaux, this afternoon concert featured a repertoire equally divided between three Quebec composers and Korean composer Unsuk Chin. Upon entering the foyer, the audience was greeted by a mediation team led by Irina Kirchberg, visiting professor at the Université de Montréal, which included a recording device for superimposing spectators’ voices, as well as an interactive panel in the form of a memory game inviting them to discover more about the works on the program.

The concert then opened with José Evangelista’s Vision, a piece for small ensemble and mezzo-soprano with a mystical aura. Brazilian singer Camila Montefusco brilliantly interpreted this work, which highlights the composer’s Spanish origins and multiple influences.

This was followed by Claude Vivier’s Bouchara, a long love song sung entirely in an invented language. Soprano Chelsea Kolić, buoyed by the expressiveness of the writing, gave us the impression of understanding her message, even as it eluded us. So we don’t need to speak the language to understand love.

In the second half, Luna Pearl Woolf’s Orpheus on Sappho’s Shore impressed with the rich voice of countertenor Ian Sabourin, who deftly navigated his multiple registers.

Finally, the NEM offered Unsuk Chin’s Cantatrix Sopranica, the only piece outside Canada on the program. Written for two sopranos, a countertenor and ensemble, it was performed here by Chelsea Kolić, Ariadne Lih and Bridget Esler, three sopranos whose timbres intertwine perfectly in this texturally fascinating work. Chin explores the very act of singing, summoning vocal warm-ups, role-playing and unexpected reversals between singers and musicians. Its fragmented writing makes it a hyper-vocal work in which the orchestral ensemble extends and magnifies the voices. Accessible and complex at the same time, blending virtuosity, humor and emotion, this piece is a perfect match for the NEM’s new direction.

The collaboration between the Atelier lyrique and the NEM has been a success. The commitment of the young singers, with their expressive, precise voices, blends very well with the spirit of the NEM.

Jean-Michaël Lavoie conducts with such fluidity. When the lights illuminate the musicians’ work, we can at the same time deconstruct every little intention of the conductor, seeing with clarity the variations of suppleness in these gestures. In this way, the NEM is in good hands.

For their next concert, we’re lucky not to have to wait too long. On May 10, they’ll be at Salle Pierre-Mercure, presenting Chapitre 3 – Dérive 2 Pierre Boulez.

Contemporary / Minimalist

Steve Reich’s quartets at Bourgie Hall : a perfectly oiled minimalist mechanism

by Frédéric Cardin

On Tuesday 1 April, for the first time in Montreal, all three of Steve Reich’s string quartets were performed in a single concert. When I say string quartets, I really mean string quartets AND tape, because they all use the latter. Played in inverse chronological order by the Mivos Quartet, the three works are emblematic of the sonic universe of the American, a pioneer of minimalism and, for many artists of subsequent generations, the grandfather of techno music and the sampling technique.

READ THE INTERVIEW WITH THE VIOLIST OF THE MIVOS QUARTET ABOUT STEVE REICH’S QUARTETS

Indeed, two of the three quartets use sound sampling (concrete sounds, snatches of voice, etc.) in a rhythmic and melodic perspective. The use of concrete sounds in music does not date back to Reich (Schaeffer, Henry and Stockhausen were there before him), but his instinctive and rhythmically catchy way of distributing them has inspired a creative movement of which hip hop is the latest genre to take up, often unknowingly, certain imperatives.

The most recent, WTC 9/11, uses sounds taken from the tragedy of 11 September 2001 in New York, while the first, “Different Trains” (which remains the best of all), draws a parallel between the trains travelling between New York and Los Angeles (which Reich often used at one time), and those that transported Jews to extermination camps during the Second World War (Reich is Jewish, and the allegory came forcefully to mind). In between, the Triple Quartet requires a tape on which two other quartets each play a score while the live ensemble performs its own on stage.

The Mivos Quartet has recorded these same three quartets for Deutsche Grammophon (they also played all the tracks of the two recorded quartets used inTriple Quartet). Its musicians are therefore well versed in the demands of this music. Nevertheless, performing this music on stage is extremely demanding. You have to concentrate at all times to react precisely to what is happening in the soundtrack and with your colleagues, and you have to keep track of all the repetitive patterns of the score, regularly punctuated by small changes that are as subtle as they are fundamental to the dynamic energy of the music. As they say, it’s easy to get lost in all that.

Hats off to the four excellent musicians of the New York-based ensemble (on their first visit here!) Olivia de Prato and Adam Woodward on violins, Victor Lowrie Tafoya on viola and Nathan Watts on cello. Their reading was breathtaking in its precision and coordination.

It’s almost an annual gathering of great names in minimalism that the Bourgie Hall programme offers us (in recent years we’ve had Glass and Missy Mazzoli), and we welcome it with enthusiasm. We hope it will continue and, why not, that there will be even more.

alt-rock / Indie / Shoegaze

This Will Destroy You au Ritz PDB

by Rédaction PAN M 360

This Will Destroy You est un groupe texan qui compose de longues pièces instrumentales atmosphériques en utilisant une variété d’effets guitare et de changements dynamiques. Incorporant des influences comme le shoegaze, l’ambient et le doom metal, ils rejettent l’étiquette de “post-rock” qui leur est souvent attribuée. Apparue pour la première fois avec un EP démo bien accueilli en 2005, Young Mountain, le groupe a continué à faire évoluer son son à travers des sorties suivantes, dont l’album influencé par le metal Tunnel Blanket (2011) et le drone lourd Another Language (2014).

This Will Destroy You are a Texan group who compose lengthy, atmospheric instrumental pieces utilizing a variety of guitar effects and dynamic changes. Incorporating influences such as shoegaze, ambient, and doom metal, they reject the “post-rock” label that is usually applied to them. Initially appearing with a well-received 2005 demo EP, Young Mountain, the group continued to evolve their sound through subsequent releases including the metal-influenced Tunnel Blanket (2011) and the drone-heavy Another Language (2014).

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

Baroque / Classical / Classical Singing / Opera

Opera McGill | Imeneo or the art of “less is more

by Alexis Desrosiers-Michaud

On Friday evening, Opera McGill gave the first in its series of performances of Georg Friedrich Handel’s Imeneo, at the Paradox Theatre, a former church on Monk Street, transformed into a performance hall, all in a cabaret format, where guests are invited to enjoy a drink during the performance.

Of the five main singers, it’s tenor Patricia Yates in the title role who stands out. Both in the stage interpretation of her character, a little over-proud, and in the amplitude of her voice, she provides a presence that transcends the framework of Paradox, and would work just as well in a more conventional opera house. In the role of Trinto, her opponent, countertenor Reed Demangone, isn’t lacking in stature either, but for opposite reasons. More restrained and shy, Demangone shows agility and delicacy in his arias, as well as in his performance of the man who will have his bride stolen from him.

On the ladies’ side, Elizabeth Fast is a show-stopper as Clomiri in the first half of the opera, trying to seduce Imeneo, who has saved her from a pirate attack, in the company of Rosmene. The latter, played by Patricia Wrigglesworth, grows in stature in the second half, becoming more and more assertive, giving her credibility in her choice of husband at the very end. In the end, Fast and Wrigglesworth deliver equal performances, each knowing when and how to get the better of her rival.

Apart from the Roman-style costumes, there’s nothing in the presentation to give us a clear idea of the era or setting in which the action is taking place. In this respect, Patrick Hansen’s simple, effective staging holds up well. The set consists of just four vertical strips descending from the ceiling and a gigantic rock that looks like a popcorn kernel, suspended in the middle. A rock that only seems to serve to redirect the lighting and obstruct the surtitles, necessary given that the opera is sung in Italian.

Also, since he doesn’t have to, there are no set or costume changes. As a result, Hansen eliminates the risk of the listener wondering “where are we now?” or “who’s who now?” and can concentrate on the action. In short, this staging is so effective that you don’t immediately realize how simple it is, without being boring either. If you try to do too much, you sometimes miss the point… but this is not the case here, and it’s very well done.

As is customary in student productions, each character has a double; the “B” cast will be singing as soloists tomorrow, and the “A” will be back on Sunday. Except that in this production, the notion of the double is finely and judiciously exploited. All ten artists are part of the three concerts, but those “on leave” perform as chorus members, albeit in their character costumes. The climax of this play on doubles comes at the end of the first act, when the doubles occult their namesakes, like emotions tearing at the soul, plunging the auditorium into a macabre red.

Photo: Stephanie Sedlbauer

Chanson francophone / Electro-Pop / Indie

Zaho de Sagazan au MTelus

by Rédaction PAN M 360

Zaho de Sagazan c’est une voix singulière et puissante, de celles qui font dresser nos poils. Un timbre grave porté par des rythmes électroniques qui côtoient la techno berlinoise et l’electronica française.
Passant des murmures aux cris, l’artiste de 24 ans s’amuse, se raconte et dissèque les travers humains sur des textes en français d’une sincérité tranchante. Ses mots, drapés de mélodies puissantes à la mélancolie subtile, nous plongent dans une intimité partagée, où l’on goûte à la délicieuse liberté de danser, de penser et de s’émouvoir.
Au côté de son batteur Tom Geffray, Zaho nous livre une Krautpop moderne inspirée de ceux qui l’ont fait danser tels que Koudlam ou Autumn. Côtoyant la folie de Catherine Ringer ou Brigitte Fontaine vient toujours le moment où elle retourne s’asseoir les yeux fermés à son piano, fidèle allié de ses créations.

Zaho de Sagazan possesses a unique and powerful voice—one that sends shivers down your spine. Her deep, resonant tone is carried by electronic rhythms that blend Berlin techno with French electronica.
Shifting from whispers to cries, the 24-year-old artist plays, reflects, and dissects human flaws through razor-sharp, sincere French lyrics. Her words, wrapped in potent melodies with a subtle melancholy, draw us into a shared intimacy where we revel in the freedom to dance, think, and feel.
Alongside her drummer, Tom Geffray, Zaho delivers a modern Krautpop sound, inspired by artists who made her dance, such as Koudlam and Autumn. With echoes of the wild energy of Catherine Ringer or Brigitte Fontaine, she always finds a moment to return to her piano, eyes closed—her most faithful creative companion.

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Ce contenu provient de Bonsound et est adapté par PAN M 360

classique / période moderne

OSM : Isabelle Demers interprète l’Oiseau de feu

by Rédaction PAN M 360

Virtuose accomplie, Isabelle Demers séduit le public par le dynamisme de son jeu et l’originalité de ses programmes. Lors de ce concert, elle transformera le Grand Orgue Pierre-Béique en un somptueux orchestre, dévoilant tous ses atouts dans les transcriptions d’œuvres de Rimski-Korsakov et de Stravinsky.

Consummate virtuosa Isabelle Demers charms audiences with her dynamic playing and original programs. In this concert, she transforms the Grand Orgue Pierre-Béique into an opulent orchestra, bringing out its many facets in transcriptions of works by Rimsky-Korsakov and Stravinsky.

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

Hip Hop / rap

MIKE au Théâtre Fairmount

by Rédaction PAN M 360

Avec un flow grave et flottant, ainsi que des beats oniriques qu’il produit lui-même, le rappeur MIKE continue de pousser le rap vers des directions plus expérimentales. Il a commencé à toucher un plus large public vers la fin des années 2010, en sortant fréquemment des mixtapes, en collaborant avec Earl Sweatshirt et en recevant des éloges critiques pour son album lourd et endeuillé Tears of Joy en 2019. Ses projets suivants, comme Weight of the World (2020), Disco! (2021) et Burning Desire (2023), ainsi que ses albums collaboratifs avec Wiki et The Alchemist (Faith Is a Rock, 2023) et Tony Seltzer (Pinball, 2024), ont été tout aussi bien accueillis.

With a floating, woozy baritone flow and dreamlike self-produced beats, rapper MIKE continues pushing rap in more experimental directions. He began reaching more listeners near the end of the 2010s, frequently releasing mixtapes, collaborating with Earl Sweatshirt, and finding critical acclaim with his heavy, grieving 2019 album Tears of Joy. Subsequent projects such as 2020’s Weight of the World, 2021’s Disco!, and 2023’s Burning Desire, along with collaborative albums made with Wiki and the Alchemist (2023’s Faith Is a Rock) and Tony Seltzer (2024’s Pinball) have been similarly well-received.

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Ce contenu provient d‘AllMusic et est adapté par PAN M 360

cinéma / classique

OSM : Fantasia de Disney

by Rédaction PAN M 360

Vivez la magie de Disney avec l’OSM et Fantasia, un des plus spectaculaires films d’animation jamais réalisés. Féériques, cocasses ou fantastiques, les images fusionnent avec la musique de Beethoven, Stravinsky, Dukas et bien d’autres afin de vous faire découvrir l’univers fantastique de la musique classique.

Experience the magic of Disney with the OSM and Fantasia, one of the most spectacular animated films ever made. Enchanting, comical and fanciful, its images dovetail with music by Beethoven, Stravinsky, Dukas, and many others in this journey through the enthralling world of classical music.

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