The seventh encounter between storyteller Fred Pellerin, Kent Nagano, and the OSM (Montreal Symphony Orchestra) remained true to the principles of previous performances: a warm atmosphere (that enormous animated Christmas ornament was still there—but where and how do they store it the rest of the year??), appropriately chosen classical music performed by a suitably velvety OSM, and the discreet yet benevolent presence of Kent Nagano, who, despite his departure several years ago, always returns with pleasure and dedication to participate in this now well-established tradition. And, above all, there was the intelligent storytelling, tinged with humor and a touch of poetry, of Fred Pellerin, master storyteller and representative of his native village, transformed by his pen and oratorical genius into a place of fantastical legends.
The 2025 version of the pilgrimage adventures of Saint-Élie-de-Caxton plunged us into the origins of this village where myth intertwines with reality. It was on April 12, 1865, that the village was founded. But what happened on the night of the 11th to the 12th for “nothing” to become “something,” and what’s more, a community, Fred wonders. It’s while “doing his research” that he discovers the story of a rigid, obsessive-compulsive priest and a wild widow known as the Red Roulette. This woman, quite the schemer, takes advantage of the “courtesy visits” from the village gentlemen by demanding a cow in exchange for her silence. The lady then owns quite a herd, 100 to be precise.
From these numerous romantic encounters (including with the priest), a little girl will be born who will win everyone’s hearts, in an allegory clearly linked, but in reverse mirror image, to the birth of Jesus. Here, there is no immaculate conception. On the contrary, the little angel bears (not so) curiously the features of all the villagers, lol.
Ultimately, it was a great sense of community that allowed the village of Saint-Élie-de-Caxton to exist, specifically on April 12, 1865. I won’t spoil why or how things unfolded at that precise moment. In any case, you’ll be going to the concert on the 18th, 19th, or 20th, and/or watching it on Radio-Canada television later during the holiday season.
That said, it’s noticeable that the use of musical pieces is sometimes primarily cosmetic, even obligatory. One wonders why this choice rather than another, except perhaps to fill the program with hit tunes from the traditional classical repertoire. Wagner’s “Entry of the Gods into Valhalla” as an opening, following the announcement of the pioneers’ disappearance (who went to settle where the village would be founded), felt like too much, let’s say. Berlioz’s “March to the Scaffold” (from the Symphonie fantastique) didn’t quite fit with the preceding theme, in my opinion. Conversely, “Earthquake” by Montreal-based composer Yuliya Zakharava, originally from Belarus, a commission from the OSM, fulfilled its mandate admirably. The young composer demonstrated excellent orchestrational skills, in a highly accessible, expressive, cinematic narrative style. She also created the beautiful arrangement of Jacques Michel’s song “Amène-toi chez nous,” sung by Fred Pellerin at the end of the concert.
And as for Fred’s own hosting, some repetition will have been noticed by regulars, namely recycled jokes from previous shows (Polichignon) or structural elements of the narrative. Well, can we really blame him? Most great artists have recycled themselves, some more often than others (Bach, to name just one). So, let’s not be too quick to judge. Moreover, if I’m to believe the comments and the faces of the audience leaving the Maison symphonique, the joy of the OSM/Fred Pellerin collaboration was once again evident. People love this tradition, even when the turkey isn’t quite as juicy as last time.
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