Voces boréales : Du Saint-Laurent vers le large à la Chapelle Notre-Dame-de-Bon-Secours
by Rédaction PAN M 360
À l’occasion du 490ᵉ anniversaire du voyage de Jacques Cartier, Voces Boreales célèbre le Saint-Laurent, ce fleuve mythique qui traverse notre histoire et notre imaginaire. Au cœur du programme, la création du quatrième mouvement de Sea Dreams du compositeur canadien Peter-Anthony Togni, une œuvre inspirée par le souffle et la majesté du fleuve, qui évoque ses légendes et sa beauté intemporelle. De ses rives, le voyage s’élance vers le large. La programmation s’ouvre sur Miniwanka (The Moments of Water) de R. Murray Schafer, hommage poétique à l’eau et aux voix des dix langues autochtones nord-américaines, tissant un pont entre nature, mémoire et culture. Un concert qui invite à naviguer entre histoires, rêves et mélodies, à sentir le fleuve vibrer à travers la musique.
On the occasion of the 490th anniversary of Jacques Cartier’s voyage, Voces Boreales celebrates the Saint-Laurent, a legendary river that flows through our history and imagination. At the heart of the program is the premiere of the fourth movement of Sea Dreams by Canadian composer Peter-Anthony Togni, a work inspired by the breath and majesty of the river, evoking its legends and timeless beauty. From its shores, the journey sets sail toward the horizon. The program also features Miniwanka (The Moments of Water) by Canadian composer R. Murray Schafer, a poetic tribute to water and the voices of ten North American Indigenous languages, weaving a bridge between nature, memory, and culture. A concert that invites you to navigate stories, dreams, and melodies, and to feel the river resonate through the music.
Programme/program
Peter-Anthony Togni – Sea Dreams R. Murray Schafer (1933-2021) – Miniwanka (The Moments of Water)
With Yatou, Noubi Brings Together Voices From Around the World
by Sandra Gasana
Le Lion d’Or was packed to the brim on a Tuesday evening for the launch of Noubi’s Afro-folk album, Yatou, which means generosity, openness, and above all, hospitality in Wolof, one of the languages spoken in Senegal. With the Chœur d’Afrique et d’Ailleurs opening the show, we were in the perfect setting to enjoy the launch.
The Chœur d’Afrique et d’Ailleurs is a multilingual, multigenerational, and multicultural choir that supported Noubi throughout the two-year production of the album. Co-founded by Noubi and Charline Marion, an energetic and talented choir director, this group has taken us on a musical journey, singing in Wolof, Arabic, and other languages. Noubi on the cajón, Gabriel Evangelista on the piano, all brought together by Catherine Béliveau’s excellent direction and some choreography to round out the experience.
Let’s the launch begin
From backstage, you can hear the cajón. Then Caroline Planté appears on stage with her guitar, followed by Charline Marion at the piano, and finally Hector Alvarado with his bass and Dominique Soulard with his two guitars. All talented musicians hailing from France, Venezuela, Senegal, and Quebec (and a bit of Spain, since Caroline lived there for a few years). Each song is presented in a unique way. No two are alike. The Yatou Choir, much smaller than the first, accompanied them on some songs, while for others, only the musicians were on stage.
The environment, artificial intelligence, and the decolonization of the mind are among the themes explored by Noubi, who enjoys weaving short stories into his songs. A storyteller by trade, he works extensively with young children, particularly in the field of music composition.
In addition to the cajón, Noubi also plays guitar on a few tracks before returning to the cajón, his instrument of choice. Meanwhile, Charline leaves the piano to join the choir, before all the performers return to the stage for the grand finale. It was a real party, featuring a djembe segment performed by slam poet and percussionist JSM l’Officiel—who is also a member of the choir—much to the delight of the audience, who began dancing all over the place.
It was hard to leave after getting such a boost of energy in the middle of the week, but one thing is certain: everyone was smiling as they left.
A lively Vivaldi with the Orchestre classique de Montréal and the Petits chanteurs du Mont-Royal
by Frédéric Cardin
The Viva Vivaldi concert last Saturday, May 30, not only marked the end of the season for the Orchestre classique de Montréal (OCM) under the direction of Andrei Feher, but also the 70th anniversary of the Petits chanteurs du Mont-Royal. For the occasion, two great classics by Vivaldi were presented, a composer whose popularity is not in doubt: The Four Seasons, to highlight the qualities of the orchestra and especially its first violin, Mark Djokic. Then the Gloria RV 589, in a fully choral version, conducted rather briskly by the approximately 150 choristers present.
As an introduction to the concert, the Orchestra played a composition by Tom Lachance, as part of a partnership with the Schulich School of Music at McGill University, we are told. The work, which lasts about ten minutes, is called Concerto for Two Violins in G Major, and is a copy of the architecture of a baroque concerto of the type written by Vivaldi. Three movements marked fast-slow-fast, an exchange of dialogue between the soloists (Mark Djokic and Marianne di Tomaso) and the ensemble, and effects of marked contrasts. Here, the interplay is between tonal harmonies and modernist dissonances, in a back-and-forth that is not surprising, given that we have already heard this kind of process several times elsewhere. That said, Tom Lachance was able to exploit the principle skilfully enough, despite its predictability, to maintain interest.
The Four Seasons followed, with Mark Djokic, first chair of the OCM, in very good form. The one who had injured his leg the day before moved slowly to his position, but once settled, he delivered a lively and articulate reading of the numerous virtuosic lines of the score. Without being devoid of a few hiccups, Mr. Djokic’s mastery is solid and confident. We will highlight the beautiful performance of the OCM under the baton of Andrei Feher, convincingly intense. He led his ensemble with incisive attacks and fairly short final note holds, informed by the aesthetics of historical performance, while allowing the modern instruments of the Orchestra to fully resonate. A roundness of sound, therefore, which beautifully married with the surgical practice of rhythms. The OCM offered a fusion of authenticist practice and a certain modern opulence that I found to work very well. Moreover, Mark Djokic also played this game by practicing the urgent style of historical baroque in the fast movements, but sometimes adding a more modern lyricism in certain melodic lines of the slow movements. A beautiful balance that satisfied the music lover’s pleasure of your devoted chronicler.
Concert Viva Vivaldi – 30 mai 2026 – Orchestre classique de Montréal – Mark Djokic, violon solo Andrei Feher, dir. – Photo : Tam Photography
The second part welcomed with great pomp the approximately 150 young choristers of the Petits chanteurs. The Maison symphonique was filled with a majority of the boys’ parents and friends, and it was noticeable. Maybe a little too much, especially because of the applause between each movement at the beginning of the Gloria! A bit annoying, even though at one point, conductor Andrew Grey (director of the Petits chanteurs), and not Andrei Feher, who had lent him his baton for the occasion, radically sped up the transitions between the movements, not giving the applause sprinters time to execute.
First, let’s remember that the Gloria RV 589 is interspersed with a few soprano solos, which had to be replaced here by the section of young boys in the choir. As for the tutti choruses, you will quickly understand that with 150 voices, the clarity and precision of the polyphonic lines, and especially the virtuosic counterpoints of several movements, were not easy to manage well. All in all, Andrew Grey managed to create some moments that left a strong impression. Apart from a few muddy passages (the Gratias agimus tibi, 4th movement among others), which were difficult to distinguish in such a mass, the different voices were clearly perceptible, and the required agility was quite satisfactory. So let’s tip our hats to the young singers and especially to their conductor.
I also wish to strongly highlight the excellence of the solos offered by the principal chairs of the OCM. The famous trumpet solo in the introductory movement was nothing short of exquisite. Also, superb melodic lines were offered by the oboe and cello throughout the piece.
As an encore, Andrei Feher delighted himself by taking up the baton again and conducting the mass of musicians in Vivaldi’s Laudate Dominum RV 606.
A successful evening for the OCM, which we hope will fill its subscription book, as well as for the sustainability of the Petits Chanteurs du Mont-Royal.
FUTURS ANTÉRIEURS – Kaitlyn Aurelia Smith, Johnny Jewel, Misstress Barbara, Jacques Greene b2b Martyn Bootyspoon et + à la SAT
by Rédaction PAN M 360
Pour ses 30 ans, la SAT voit grand avec Futurs Antérieurs : un takeover complet de ses trois étages par plus de 30 artistes, pendant deux nuits entières. Une célébration d’envergure où passé, présent et futur se superposent et se réécrivent en continu. L’avenir est déjà ici. Des figures internationales à la scène émergente, de la techno aux explorations ambient et expérimentales, et des visuels immersifs aux performances live A/V, Futurs Antérieurs déploie une programmation de haut calibre et résolument tournée vers demain. Le 5 juin, Johnny Jewel (live A/V), Ambassade (live A/V), Misstress Barbara (qui souligne également 30 ans de carrière), KYRUH et Evita investissent le rez-de-chaussée. Matias Aguayo, PAURRO et Fabrizio Di Salvo prennent possession du dôme, et l’espace lounge s’active pour l’occasion avec zi! et Eccina (live) au deuxième étage. Le 6 juin, la fête se poursuit avec Kaitlyn Aurelia Smith (live), Flore b2b Nahash, Hyd (live), Honeydrip et t-nex dans l’Espace SAT. La Satosphère accueille Jacques Greene b2b Martyn Bootyspoon, Mozhgan et France Jobin & Markus Heckmann (live A/V), tandis qu’Alan Harman, copcarbonfire et Richard b2b M Salaciak se partagent le deuxième étage. De jour, une masterclass avec Flore (13h-15h) vient compléter cette édition anniversaire. •Installations lumineuses : Aube et Skeletron.tv (5 et 6 juin) •Visuels immersifs 360° : BunBun et Alex Vlair (5 juin) / SULFATION et al11z (6 juin) Tous les espaces et formats se déploient pour célébrer 30 ans de programmation visionnaire et avant-gardiste, et imaginer ensemble les performances de demain.
For its 30th anniversary, the SAT is thinking big with Futurs Antérieurs: a complete takeover of its three floors by over 30 artists, over two entire nights. A major celebration where past, present, and future overlap and are continuously rewritten. The future is already here. From international figures to the emerging scene, from techno to ambient and experimental explorations, and from immersive visuals to live A/V performances, Futurs Antérieurs presents a high-caliber program resolutely focused on tomorrow. On June 5, Johnny Jewel (live A/V), Ambassade (live A/V), Misstress Barbara (also marking 30 years of career), KYRUH, and Evita take over the ground floor. Matias Aguayo, PAURRO, and Fabrizio Di Salvo take possession of the dome, and the lounge space comes alive for the occasion with zi! and Eccina (live) on the second floor. On June 6, the party continues with Kaitlyn Aurelia Smith (live), Flore b2b Nahash, Hyd (live), Honeydrip, and t-nex in the Espace SAT. The Satosphere hosts Jacques Greene b2b Martyn Bootyspoon, Mozhgan, and France Jobin & Markus Heckmann (live A/V), while Alan Harman, copcarbonfire and Richard b2b M Salaciak share the second floor. During the day, a masterclass with Flore (1-3 PM) completes this anniversary edition. •Light installations: Aube and Skeletron.tv (June 5 and 6) •Immersive 360° visuals: BunBun and Alex Vlair (June 5) / SULFATION and al11z (June 6) All spaces and formats are deployed to celebrate 30 years of visionary and avant-garde programming, and to collectively imagine the performances of tomorrow.
Intégrale des sonates pour piano de Prokofiev – Concert 3 : Le siège de Leningrad à la salle Bourgie
by Rédaction PAN M 360
L’un des 15 meilleurs pianistes canadiens de tous les temps selon la CBC, David Jalbert nous mène sur le chemin passionnant des sonates pour piano de Prokofiev ! Dans une intégrale en trois concerts-événements, ce projet s’inscrit dans la foulée de ses enregistrements chez ATMA Classique. Entre introspection et virtuosité, romantisme et modernité, ces œuvres reflètent le parcours et la vie de ce compositeur visionnaire.
David Jalbert—one of the 15 greatest Canadian pianists of all time, according to the CBC—takes his audience on a journey through Prokofiev’s complete piano sonatas! This three-part concert series was inspired by Jalbert’s Prokofiev recordings for ATMA Classique. With works both introspective and virtuosic, both Romantic and modern, this programme offers a glimpse into the life and works of the visionary composer.
Programme
PROKOFIEV Sonate n° 9 en do majeur, op. 103 Sonate n° 10 en mi mineur, op. 137 (inachevée) Six pièces d’après Cendrillon, op. 102 : I. « Valse : Cendrillon et le Prince » Sonate n° 3 en la mineur, op. 28 Dix pièces d’après Roméo et Juliette, op. 75 (extraits) Sonate n° 7 en si bémol majeur, op. 83
Program
PROKOFIEV Sonata No. 9 in C major, Op. 103 Sonata No. 10 in E minor, Op. 137 (unfinished) Six Pieces from Cinderella, Op. 102: I. Waltz: Cinderella and the Prince Sonata No. 3 in A minor, Op. 28 Ten Pieces from Romeo and Juliet, Op. 75 (excerpts) Sonata No. 7 in B-flat major, Op. 83
Maxim Shatalkin & Olga Kudriakova, pianos – Matinée à 2 pianos à la salle Bourgie
by Rédaction PAN M 360
Ce brillant duo de pianistes, récemment installé à Montréal, a remporté maints concours internationaux. Il propose un récital haut en couleur dans lequel les chorals de Bach côtoient les compositeurs russes et polonais des 20e et 21e siècles, ou encore le tango argentin de Piazzolla, qui fait un clin d’œil aux célèbres Quatre saisons baroques.
This brilliant piano duo, winner of several international competitions, has chosen Montréal as its new home. In this colourful recital, the pianists combine Bach chorales with Russian and Polish works from the 20th and 21st centuries, not to mention an Argentine tango piece by Piazzolla that gives a subtle nod to Vivaldi’s Four Seasons.
Programme
J. S. BACH Prélude de choral Ich ruf zu dir Herr Jesu Christ, BWV 639, pour piano solo (arr. BUSONI) Aria « Schafe können sicher weiden », de la cantate Was mir behagt, ist nur die muntre Jagd, BWV 208 (arr. PETRI) CHOSTAKOVITCH Concertino pour deux pianos en la mineur, op. 94 PIAZZOLLA Las cuatro estaciones porteñas [Les quatre saisons de Buenos Aires] (arr. pour deux pianos de ZIEGLER) KAPOUSTINE Variations pour piano solo, op. 41 LUTOSŁAWSKI Variations sur un thème de Paganini
Program
J. S. BACH Chorale prelude choral Ich ruf zu dir, Herr Jesu Christ, BWV 639, for solo piano (arr. BUSONI) Aria “Schafe können sicher weiden” from the cantata Was mir behagt, ist nur die muntre Jagd, BWV 208 (arr. PETRI) SHOSTAKOVICH Concertino for Two Pianos in A minor, Op. 94 PIAZZOLLA Las cuatro estaciones porteñas [The Four Seasons of Buenos Aires] (arr. ZIEGLER for two pianos) KAPUSTIN Variations for Solo Piano, Op. 41 LUTOSŁAWSKI Variations on a Theme by Paganini
Finale du CMIM | Grande finale à la Maison symphonique
by Rédaction PAN M 360
Vivez la Grande finale du Concours musical international de Montréal 2026! Au terme d’un parcours exigeant, l’émotion est à son comble sur la scène de la Maison symphonique. Accompagnés par l’Orchestre symphonique de Montréal – l’orchestre officiel du Concours placé sous la direction du chef invité Sascha Goetzel – trois grands finalistes d’exception feront vibrer le public en interprétant un concerto pour violon de leur choix. Entre intensité, émotion et maîtrise absolue de leur art, cette soirée promet des moments de musique inoubliables où chaque note porte l’espoir d’une victoire. Ne manquez pas cet événement phare célébrant le talent, la passion et l’avenir du violon sur la scène montréalaise. Qui remportera le prestigieux titre de grand lauréat ou grande lauréate du Concours musical international de Montréal 2026?
Experience the Grand Final of the Concours musical international de Montréal 2026. After a demanding journey, emotions run high on the stage of the Maison symphonique. Accompanied by the Orchestre symphonique de Montréal—the Concours’ official orchestra—led by guest conductor Sascha Goetzel, three exceptional finalists will dazzle the audience as they perform a violin concerto of their choice. With intensity, emotion, and absolute mastery of their art, this evening promises unforgettable moments of music, where every note carries the hope of a victory. Don’t miss this landmark event celebrating the talent, passion, and future of the violin on the Montreal stage. Who will earn the prestigious title of Grand Laureate of the Concours musical international de Montréal 2026?
Ensemble Caprice : Magnificat de Bach à la Maison symphonique
by Rédaction PAN M 360
Laissez-vous emporter par la passion! La joie éclatante du Magnificat de Bach se marie à merveille avec l’intensité du Concerto pour violon en mi mineur de Felix Mendelssohn, l’un des plus émouvants de tous les temps. Sous la direction de Matthias Maute, l’Ensemble Caprice et l’Ensemble ArtChoral donneront vie au Magnificat interprété par quatre solistes exceptionnels. Le concerto pour violon no. 2 de Mendelssohn sera joué par le violoniste Mark Fewer. Décrit comme « intrépide » et « hors des cadres » par le Globe and Mail et le National Post, Mark Fewer s’illustre sur les scènes internationales avec son propre style unique et envoûtant.
Let yourself be carried away by passion! The brilliant joy of Bach’s Magnificat perfectly blends with the intensity of Felix Mendelssohn’s Violin Concerto in E minor, one of the most moving of all time. Under the direction of Matthias Maute, Ensemble Caprice and Ensemble ArtChoral will bring the Magnificat to life, performed by four exceptional soloists. Mendelssohn’s Violin Concerto No. 2 will be played by the fabulous violinist Mark Fewer. Described as “fearless” and “outside the box” by the Globe and Mail and the National Post, Mark Fewer stands out on international stages with his unique and captivating style that continues to enthrall audiences.
Programme
Johann Sebastian Bach, Magnificat, BWV 243 Felix Mendelssohn, Concerto pour violon no 2 en mi mineur, op. 64 MWV O 14 Jeffrey Ryan, Bellatrix
Program
Johann Sebastian Bach, Magnificat, BWV 243 Felix Mendelssohn, Violin Concerto in E minor, Op. 64, MWV O 14 Jeffrey Ryan,Bellatrix
Le Vivier : Kimihiro Yasaka – Gotō à l’église Sainte-Hilda
by Rédaction PAN M 360
Gotō (archipelago) est une œuvre musicale, vidéo et pour piano solo basée sur des enregistrements audio et vidéo de l’archipel Gotō à Nagasaki, Japon. Elle a été commandée par le pianiste Kimihiro Yasaka, originaire de Nagasaki et basé à Montréal, et le compositeur Daryl Jamieson, né au Canada et basé au Japon. Gotō est important pour les débuts du bouddhisme japonais, possède une histoire riche, notamment des sites archéologiques néolithiques, et regorge de sons naturels magnifiques. Sa culture musicale unique comprend les traditions locales de musique rituelle shintoïste et les hymnes des chrétiens cachés (persécutés). Les enregistrements utilisés dans l’œuvre ont été réalisés au cours de quatre voyages – un par saison – dans les cinq îles principales de l’archipel de Gotō. Jamieson a composé la partie piano en dialogue avec les sons naturels qu’il a enregistrés, ainsi qu’avec les réponses improvisées de Yasaka à ces enregistrements. Le résultat est une véritable collaboration entre les deux artistes, le lieu et son histoire culturelle, ainsi qu’une véritable collaboration entre les artistes canadiens et japonais et leurs façons d’écouter.
Gotō (archipelago) is a soundscape, video, and solo piano work based on audio and video recordings of the Gotō Archipelago in Nagasaki, Japan. It was commissioned by Montreal-based, Nagasaki-born pianist Kimihiro Yasaka, and Canadian-born, Japan-based composer Daryl Jamieson. Gotō is important for early Japanese Buddhism, has a deep history including Neolithic archaeological sites, and plenty of beautiful natural sounds. Its unique musical culture includes local traditions of Shintō ritual music and the hymns of the Hidden (persecuted) Christians. The recordings used in the work were made over four trips – once per season – to the five main islands of the Gotō archipelago. Jamieson composed the piano part in dialogue with the natural sounds he recorded, as well as Yasaka’s improvised responses to those recordings. The result is a true collaboration of both artists with the place and its cultural history, and a true collaboration between Canadian and Japanese artists and ways of listening.
It’s easy to see why Vision Diversité chose to wrap up its Mozaïk series with Abdel Grooz and his talented band. Unlike the previous concerts, which were more intimate and introspective, this one was a completely different, vibrant show that left the audience in awe. It was intimate nonetheless, as Abdel shared snippets of his life stories and the context behind certain songs, inviting us into his world. The setting was perfect for the occasion, with just the right lighting, plants scattered across the stage, and a rug—making it feel as though we were in his living room.
But first and foremost, let’s talk about the top-notch musicians who accompanied Abdel for the occasion: his longtime collaborator Donald Auguste Dogbo on drums, who actually celebrated his birthday on stage, Zacharie Winter on guitar, Rémi Cormier on trumpet, Chacón on keyboards, and a surprise guest named Nazim Mohammedi, an Algerian guitarist visiting Montreal for the Montreal Raï Fest.
From the very first song, Abdel had the audience singing along, and they were immediately swept up in the moment. The show is full of surprises, shifting from diwane to West African sounds and Latin rhythms thanks to Chacón’s keyboard. Chacón, originally from Cuba, has added his own Latin jazz touch to Abdel’s rich repertoire. Sometimes, within the same song, Abdel manages to blend two or three different styles, which he brings together perfectly.
One of the highlights of the evening was Abdel’s bass solo during a song dedicated to his grandmother. It was a moment that seemed to stand still, and you could really feel the artist’s emotions as he took the song in a new direction.
The musicians had plenty of opportunity to shine, as they were given the space to do so. In each piece, Abdel introduces the musician before giving them the time they need to shine, thereby extending the experience. The audience particularly enjoyed Zacharie Winter’s solos, as well as Rémi Cormier’s trumpet flourishes. In fact, Cormier has just returned from a trip to Senegal, where he participated in the 5th edition of the Stéréo Africa Festival and the Saint-Louis Jazz Festival. Chacón also had the chance to introduce himself to the audience, who are not likely to forget his name anytime soon.
The rapport between Abdel and Donald was palpable, whether through the knowing smiles they exchanged or the way they communicated with their eyes regarding the musical direction.
“We have some good news to share with you: the show Diwane has been selected for the CAM tour!” Abdel tells us at the end of the concert.
In addition to the surprise with Nazim, we got to do a few dance moves thanks to two twin sisters who are members of the Kalabanté troupe. Abdel has toured with this Guinean circus troupe, and that experience has also left a lasting mark on his career. It was the perfect opportunity for the audience to stretch their legs and dance, much to Abdel’s delight.
And so the Mozaïk series, which began in January to mark the 20th anniversary of Vision Diversité, came to a close on a very festive note. I was thrilled that my children were able to attend the show and discover the best of Montreal’s multicultural music scene.
