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Ce contenu provient de M pour Montréal et est adapté par PAN M 360
Montréal
musique contemporaine
Two anniversaries celebrated with Quebec’s musical genius
Saturday evening at the Claude-Champagne Hall of the University of Montreal, a concert was held to celebrate the anniversaries of two venerable Quebec musical institutions: the 60th of the Quebec Society of Contemporary Music (SMCQ) and the 75th of the Faculty of Music of the University of Montreal (UdeM). Contemporary Confluences, the title of the concert, highlighted the many intersections between the two organizations. The program honoured the various musical directors of the SMCQ throughout history (Serge Garant, Gilles Tremblay, Walter Boudreau, Ana Sokolovic), who have all also been teachers at UdeM. As a bonus, a creation by a young composer, Maxime Daigneault, because we must not forget that the mission of both institutions is also to ensure the future of contemporary classical music. It was the SMCQ ensemble, led by Christian Gort, and the UdeM Contemporary Music Ensemble, led by Jean-Michaël Lavoie, who shared the stage and the pieces, sometimes in tandem.
READ THE INTERVIEW ABOUT THIS CONCERT
The program showed the depth of scholarly creation in Quebec music. Boudreau’s Coffre III(a) (Le Cercle Gnostique I {}) launched the evening with the composer’s usual mark, his stunning colours and sparkling energy. The trio of young students from UdM, composed of Jérémie Arsenault on clarinet, Alona Milner on piano, and Leîla Saurel on cello, was impressive in terms of technical quality, precision, and timbral beauty.
Following was Serge Garant’s Quintet for flutes, oboe/English horn, percussion, piano, and cello, a true marvel of arch construction, whose expressive beauty relies on an exceptional sense of colour and thematic metamorphosis. Ana Sokolovic’s Five Locomotives and Some Animals bears the mark of the Montreal composer’s efficient style. Descriptive episodes including rhythmic and stylistic motifs from Balkan folklore, interspersed with short interventions driven by exciting motor energy. Ironically, it was the work that seemed the most fragmented of the evening in terms of sonic coherence, whereas the others were rather seeking to create an integrated, morphic and organic whole despite their omnipresent pointillism. Nevertheless, Sokolovic’s writing remains irresistible.
Souffle (Champs II) by Gilles Tremblay reminded us of how the formal and intellectual complexity of the composer’s works is equally matched by a fascinating mastery of expression and discourse. The abundance of colours and the stunning poetry of this seductive abstraction never fail to move. Very great art, as Lavoie and the UdeM Ensemble reminded us.
I really enjoyed the last piece of the evening, Sensations: Lueurs du néant (Sensations and glimmers of nothingness) by Maxime Daigneault. This commission, performed by the largest number of musicians in the program, testified quite explicitly to the nature of contemporary language in 2025, compared to that of its predecessors, concentrated in the years 1978 to 1996. Daigneault’s music is organic, metamorphic in the sense of a moving fluid that almost never contains sound breaks. This fluidity is very representative of current music in scholarly creation, probably informed by post-minimalism and neo-romanticism. In the 21st century, we seek to fill the expressive field, to cover it entirely. It is very different from the atomism that dominated avant-garde and institutional musical thought in the second half of the 20th century.
Daigneault told me before the concert that the idea of this piece was to translate the compositional process that characterizes his own approach. At the moment of starting to write a work, there is nothing. A blank page, or rather a dark void. Then, through persistent searching, a few luminous threads appear, ideas, intuitions. He pulls on them, sees what he can do with them, ties them together, and eventually transforms the darkness into light. Sensations: Lueurs du néant is totalitarian music, in the sense of a total monopolization of the sound space, without breaks, or almost. It is also a very strongly expressive music, and one that has an almost physical impact on the listener. As far as I’m concerned, a great success. Why did it then seem to me that the applause was a bit too polite?
The musicians of both ensembles were at the forefront of the numerous demands of the scores. With perhaps the advantage going to that of the SMCQ, which is also the most experienced.
The celebration of the two anniversaries took place in a sober manner while highlighting the very essence of their missions: to promote the excellence and endurance of local musical genius.
Moyen-Orient / Levant / Maghreb / Raï
FMA 2025 | Chazil Charms Montreal
Right from the start, Chazil chose to open the show with the song Twahchete Shabi w Bladi, in which he talks about his mother and friends whom he misses when he is far from home. Indeed, exile plays an important role in his repertoire, as if raï music lends itself well to this kind of theme.
For his first show in Canada, Chazil made quite an impression. The National was filled with young people, but not only them—some had come with their parents to listen to the young prodigy of raï 2.0, as he calls it.
By the second song, the audience was up dancing, even though the venue wasn’t really suited to it. As the evening wore on, more and more people joined in, transforming the National into a veritable nightclub.
Wearing his signature scarf around his neck and a beige suit, Chazil has a Montreal fan club that was there to support him, chanting his name several times throughout the evening.
With a full band made up entirely of Montrealers, Chazil delivered a performance worthy of the name, displaying a particularly strong rapport with his guitarist. Some songs start off softly, highlighting his deep voice, before the darbouka and drums kick in with power. Despite his young age—he is only 25—he seems to have the soul of an old sage.
“Are you ready for more?” he asks the crowd before continuing with Algerian music classics that everyone seems to know by heart, alternating with his own hit songs. He got the audience involved, turning them into a choir and getting them to clap along to the rhythms of the darbouka, adding call-and-response songs. His dance moves were a hit with the young girls in the audience, who began to cheer.
After a few songs, a member of the audience gave him an Algerian flag, which he attached to his microphone, declaring himself a nationalist and very proud of his country. A song dedicated to love was particularly popular with the audience, who sang along at the top of their voices.
Sometimes, raï blended with rock on certain tracks, while on others it was more raw, with breathtaking keyboard and electric guitar solos. He took the opportunity to present his new song Katba, which many in the audience already knew by heart, as well as Khelouni, which means “Let me” in Arabic and features in his live session Raï Rayi on YouTube.
The darbouka gave way to congas on certain tracks, notably during his cover of Abdelkader Ya Boualem by Cheb Khaled, the true king of raï. Seeing the crowd go wild, he treated them to a non-stop medley of raï classics. Not very talkative between songs, he addressed the audience mainly in Arabic, slipping in little jokes here and there. He often asked for the spotlight to be turned on the audience so he could see them better, and they kept asking for more and more. Even after the selfie at the end of the concert, the audience didn’t want to leave. Chazil had no choice but to take one last photo before closing his very first show in Montreal, which is certainly not his last.
Publicité panam
Gnawa
Festival du monde Arabe : Le guembri, quand l’ancestral rencontre le futur à l’Espace culturel Kawalees
Avec Amine Benarqia, le guembri quitte le désert pour voyager à travers le monde, révélant toute la puissance et la profondeur de cet instrument sacré des Gnawa. Plus qu’un simple luth, le guembri devient un véritable orchestre à lui seul, capable de transporter l’auditeur entre les racines ancestrales et les explorations musicales contemporaines. Entre transe mystique et vibrations modernes, il dialogue avec le jazz, l’électronique et des atmosphères organiques, créant un pont unique entre tradition et innovation.
Cette performance invite à une expérience sensorielle immersive où chaque note raconte l’histoire d’un peuple, tout en explorant de nouveaux territoires sonores. Amine Benarqia devient ainsi passeur d’universels, faisant résonner le passé et le futur dans une harmonie vibrante et envoûtante. Une rencontre musicale où l’héritage des Gnawa se transforme en énergie créative, ouverte à toutes les curiosités et émotions.
What if the guembri were to leave the confines of the Sahara to conquer the world? For Amine Benarqia, a free spirit of the world-music scene, this is no longer a question but a sonic prophecy. In his musical laboratory, the sacred instrument of the Gnawa becomes an explorer of new territories, a cosmophile in search of universals.
The guembri, emblematic of the Gnawa tradition, is a three-stringed lute-drum carved from wood and covered with camel skin. Its deep, hypnotic resonance lies at the heart of trance rituals, where rhythm and spirituality intertwine. At once instrument and orchestra, the guembri’s trance-inducing patterns enter into dialogue with jazz, its hypnotic melodies flirt with organic electronica, and its ancestral drones merge seamlessly with atmospheric textures.
Through this encounter, Amine Benarqia offers a sensory experience where the boundaries between tradition and innovation dissolve. The guembri, forever surprising, continues its metamorphosis as both guardian of memory and harbinger of the future.
CE SPECTACLE EST GRATUIT!
Ce contenu provient du Festival du monde Arabe et est adapté par PAN M 360
chanson keb franco / Indigenous peoples / Pop-Rock
Coup de coeur francophone : Dumas et Mimi O’Bonsawin au Gesù
Dumas
Sans réflexe, sans repère, sans boule disco. D’une étincelle échappée des versions piano-voix de Cosmologie Deluxe, rendue plus vive par le vent de l’ami-artiste-vidéaste ENO, s’est finalement allumée l’idée de Piano Voix Diapos. Dumas sans guitare, accompagné d’un pianiste et de diapositives, revisitant 25 ans de répertoire. Comme un cosmologiste qui scrute son propre univers pour en faire jaillir la lumière.
Without reflex, without reference point, without disco ball. From a spark born of the piano-voice versions of Cosmologie Deluxe, fanned into life by the wind of fellow artist and videographer ENO, the idea of Piano Voix Diapos finally came to light. Dumas without a guitar, accompanied by a pianist and slides, revisiting 25 years of repertoire. Like a cosmologist gazing into his own universe to let the light emerge.
Mimi O’Bonsawin
Franco-canadienne et W8banaki (Abénaki), membre de la Première Nation d’Odanak, Mimi O’Bonsawin est de celles qui cultivent avec ardeur (non seulement au figuré en ce qui la concerne), une auteure-compositrice-interprète contemporaine dont la musique embrasse la beauté de la terre. Transposées sur scène en duo, ses chansons, rythmées et narratives, collections de mélodies métissées et de paroles introspectives, mêlent sensibilité pop et instrumentations acoustiques, percussions en strates et arrangements hétéroclites. Elles sont des jardins panachés, des sols de rassemblement, de partage et de joie.
Franco-Canadian and W8banaki (Abenaki), a member of the Odanak First Nation, Mimi O’Bonsawin is an artist who cultivates with great care (in every sense of the word) a contemporary singer-songwriter practice that embraces the beauty of the earth. Performed on stage as a duo, her songs, rhythmic and narrative, weaving blended melodies with introspective lyrics, merge pop sensibility with acoustic instrumentation, layered percussion, and eclectic arrangements. They are variegated gardens, fertile grounds for gathering, sharing, and joy.
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Ce contenu provient de Coup de cœur francophone et est adapté par PAN M 360
Alt Folk / Eastern European / Indie
Coup de coeur francophone : Bilou, Cédric Dind-Lavoie et Mykalle au Ausgang Plaza
Bilou
Musicien.ne, artiste visuel et réalisateur.ice (Flavien Berger, Etienne Daho) belge, Bilou joue entre les pratiques, à l’intersection des médiums. Ça parle du regard à l’intérieur de sa musique et de la voix qui s’élève au sein de ses images fabriquées ou glanées dans son cercle proche. En koala sur son micro, ses notes à fleur de peau s’écorchent en pointant du doigt les déguisements du patriarcat qui lui ont rendu la voix grave. Des couleurs pitchées qui nagent parmi des chœurs qui espèrent encore.
Musician, visual artist, and filmmaker (Flavien Berger, Étienne Daho), Belgian-born Bilou moves between practices, at the intersection of mediums. Their work speaks of the gaze within their music and of the voice rising from images, crafted or gathered from their close circle. Perched like a koala on the microphone, their skin-deep notes tear as they point to the disguises of patriarchy that deepened their voice. Pitch-shifted colors drift among choirs still holding on to hope.
Cédric Dind-Lavoie
Révélé avec Archives, projet émouvant donnant à des morceaux et à des voix du folklore des arrangements contemporains, lauréat du significatif Oliver Schroer Pushing the Boundaries Award aux Canadian Folk Music Awards, le compositeur et multi-instrumentiste Cédric Dind-Lavoie est de ces visionnaires dont le travail est rare, exceptionnel. À leur quatrième volume, ses « orchestrations » sont d’une beauté toujours aussi saisissante, colossales œuvres d’amour et de mémoire.
Revealed with Archives, a moving project that gave contemporary arrangements to pieces and voices from folklore, and winner of the prestigious Oliver Schroer Pushing the Boundaries Award at the Canadian Folk Music Awards, composer and multi-instrumentalist Cédric Dind-Lavoie is one of those visionaries whose work is rare and exceptional. Now at its fourth volume, his “orchestrations” remain just as strikingly beautiful, colossal works of love and memory.
Mykalle
Compositrice et artiste multidisciplinaire, Mykalle crée depuis plus de dix ans à la croisée de la musique et des arts vivants — son premier album Da pacem (2024) et sa trilogie multidisciplinaire sur le sacré, Gloria, Mythe et Warm up (2015–2021) — ont été présentés dans plusieurs pays en Amérique du Nord et en Europe. Des voyages aux échos sacrés, inspirés par la liturgie, le chant traditionnel et la pop, ses musiques, à la fois contemporaines et hors de ce monde, mêlent des sonorités néoclassiques et électroniques, avec des paroles en latin, en grec, en bulgare et en anglais. Ses performances puissantes ont cette capacité d’habiter l’intérieur, dans la salle même où se trouve la paix.
Composer and multidisciplinary artist, Mykalle has been creating for over a decade at the crossroads of music and the performing arts. Her first album Da pacem (2024) and her multidisciplinary trilogy on the sacred — Gloria, Mythe, and Warm up (2015–2021) — have been presented in several countries across North America and Europe. Journeys with sacred echoes, inspired by liturgy, traditional song, and pop, her music, both contemporary and otherworldly—blends neoclassical and electronic textures with lyrics in Latin, Greek, Bulgarian, and English. Her powerful performances hold the rare ability to inhabit the inner self, within the very space where peace resides.
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Ce contenu provient de Coup de cœur francophone et est adapté par PAN M 360
électro-indie / Electro-Pop / Soul/R&B
Coup de coeur francophone : Xela Edna, Flèche Love et Virginie B au Théâtre Plaza
Xela Edna
[aucune description de l’artiste disponible]
[no artist description available]
Flèche Love
Écouter la Suisse Flèche Love c’est être transpercé·e par une voix, un corps, une parole qui, inévitablement, provoque des sensations, des émotions, des images fulgurantes. Elle n’est pas seulement une voix libre. À la manière des immenses Björk, Sevdaliza, FKA Twigs ou de la regrettée Lhasa de Sela, sa musique unique et avant-gardiste est associée à la danse, qu’elle pratique comme une délivrance aux inspirations multiples, un mouvement vers la Guérison.
Listening to Suisse Flèche Love is being pierced by a voice, a body, a word that inevitably sparks sensations, emotions, and striking images. She is not just a free voice. In the manner of the greats Björk, Sevdaliza, FKA Twigs, or the late Lhasa de Sela, her unique and avant-garde music is inseparable from dance, which she practices as a liberating force of many inspirations, a movement toward Healing.
Virginie B
L’excentricité envoûtante de Virginie B n’a d’égal que sa créativité débordante. En surdouée, elle s’adonne à une réappropriation unique des codes de l’hyperpop, y insufflant nu jazz, funk et R&B, avec une approche conceptuelle héritée de l’art pop et d’un goût prononcé pour le maximalisme et le glamour. Elle applique cet amalgame distinctif et versatile à l’exploration de sa psyché, de sa féminité et de son rapport à la technologie et à la nature. Un exutoire de ses désirs, comme ses abus, qu’elle possède sur scène avec une vulnérabilité et une confiance imposante.
The captivating eccentricity of Virginie B is matched only by her overflowing creativity. A prodigy, she engages in a unique reappropriation of hyperpop’s codes, infusing them with nu jazz, funk, and R&B, along with a conceptual approach inherited from pop art and a strong taste for maximalism and glamour. She applies this distinctive and versatile blend to the exploration of her psyche, her femininity, and her relationship with technology and nature. An outlet for her desires, and her excesses, which she commands on stage with both vulnerability and commanding confidence.
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Ce contenu provient de Coup de cœur francophone et est adapté par PAN M 360
acadie / chanson keb franco / Indie Folk
Coup de coeur francophone : Velours Velours et Katrine Noël aux Foufounes Électriques
Velours Velours
Exutoire de Raphaël Pépin-Tanguay, Velours Velours, qu’il porte comme un nom (Salut, Velours) est de ses extraordinaires et très attachants fous talentueux dans le sens de « follement ». Quand je pleure, je suis content de dire son deuxième long jeu, que toute la presse s’est empressée d’écouter et d’aimer. C’est que « les contradictions du jeune musicien aux textes tristes, mais à la voix souriante » qui « a su très tôt qu’il voulait faire partie de la gang », a-t-on pu lire, donnent des chansons auxquelles on veut revenir. Des musiques populaires populeuses, de talents, de goût et de culture québécoise. Un grand jam de monde qui s’aime et qui aime le monde.
The outlet of Raphaël Pépin-Tanguay, Velours Velours, carried like a name (Hello, Velours), is one of those extraordinary, endearingly “crazy” talents, crazy in the best sense of the word. Quand je pleure, je suis content marks his second full-length, one that the press was quick to listen to and embrace. As one review put it, “the contradictions of this young musician, with sad lyrics but a smiling voice, who knew early on that he wanted to be part of the gang,” make for songs listeners return to again and again. Popular music in the fullest sense: filled with talent, taste, and Québécois culture. A great jam of people who love each other and love the world.
Katrine Noël
Après 10 ans de tournées et d’albums avec son band-d’amies-d’Acadie-devenu-culte, « la grande des Hay Babies » avait besoin de lâcher son lousse : fouler des planches de théâtre, mettre en scène des « orchestres », réaliser « maison » des tonnes de chansons dans son studio « La grosse rose ». Aujourd’hui et maintenant, Katrine Noël embrasse l’idée de showmanship — celle de la performance, pas de la discipline équestre western pour faire clair. Seule sur scène pour la première fois, elle débarque le public dans son village imaginaire du Nouveau-Brunswick, peuplé de personnages colorés, comme les tomates du jardin qui ont vu grossir son premier solo.
After 10 years of touring and making albums with her cult-favorite band of Acadian friends, “the tall one from Les Hay Babies” needed to let loose: treading the theatre stage, directing “orchestras,” and home-producing piles of songs in her studio, La grosse rose. Today, Katrine Noël fully embraces the idea of showmanship — performance, that is, not Western equestrian discipline, just to be clear. Alone on stage for the first time, she transports the audience into her imaginary New Brunswick village, populated with colorful characters, like the garden tomatoes that witnessed the growth of her first solo.
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Ce contenu provient de Coup de cœur francophone et est adapté par PAN M 360
Chanson francophone / hommage
Coup de coeur francophone : Du Haut des Airs Canada à la salle Claude-Léveillée
Initiative de la Société pour l’avancement de la chanson d’expression française (SACEF), en collaboration avec la Société Chant’Ouest, le Gala de la chanson de Caraquet et l’APCM, Du Haut des Airs Canada, est un événement phare réunissant les forces vives franco-canadiennes de l’Ouest, des provinces de l’Atlantique, de l’Ontario et du Québec. Pour sa 12e édition, sous la direction artistique d’Yves Marchand, ce sont quatre jeunes musiciens émergent·es, Sophie Grenier de l’Ontario, Élise Boulanger de Vancouver, Lydia Colada (Samuel Boulianne) du Québec et Jonathan Sonier du Nouveau-Brunswick, qui se sont approprié un répertoire de chansons actuelles d’auteur·trices-compositeur·trices canadien·nes établis et de la nouvelle vague. Un portrait instantané de l’expression de la chanson pancanadienne dans toutes ses déclinaisons.
An initiative of the Société pour l’avancement de la chanson d’expression française (SACEF), in collaboration with Société Chant’Ouest, the Gala de la chanson de Caraquet, and the APCM, Du Haut des Airs Canada is a flagship event bringing together the driving forces of French-language song from Western Canada, the Atlantic provinces, Ontario, and Quebec. For its 12th edition, under the artistic direction of Yves Marchand, four young emerging musicians, Sophie Grenier from Ontario, Élise Boulanger from Vancouver, Lydia Colada (Samuel Boulianne) from Quebec, and Jonathan Sonier from New Brunswick, reinterpreted a repertoire of contemporary songs by both established and next-generation Canadian singer-songwriters. An instant portrait of the many facets of French-language song across Canada.
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Ce contenu provient de Coup de cœur francophone et est adapté par PAN M 360
Alt Folk / Electro-Pop / Indie Pop
Coup de coeur francophone : Avril Jensen et Erwan au Verre Bouteille
Avril Jensen
Avril Jensen aurait aimé être astronaute. Elle l’est sans doute dans une autre dimension, mais ici, les étoiles ont voulu qu’elle soit musicienne. C’était écrit dans le ciel. De ces brillantes du côté « gauche » de la force, elle engendre une pop hybride vibrante dans laquelle coulent la chaleur de l’acoustique et la puissance de l’électro. Qui sait si elle n’est pas de deux mondes.
Avril Jensen would have liked to be an astronaut. She is, no doubt, in another dimension, but here, the stars decided she would be a musician. It was written in the sky. One of those brilliant ones on the “left” side of the force, she creates a vibrant hybrid pop in which the warmth of acoustic music flows with the power of electro. Who’s to say she isn’t from two worlds?
Erwan
Erwan fait du folk alternatif qui caresse et qui brasse, aussi vaste qu’introspectif. Portées par sa voix haute, voilée, souffle délicat autant vent tempétueux, ses chansons mouillées de cordes acoustiques enroulées d’une contexture lo-fi emmènent des textes limpides et profonds. Des flaques de la couleur des émotions, des Enfantillages (comme son bien nommé EP), des ritournelles de gazou, de vieux claviers Casio, de guitares au pont en caoutchouc dans lesquelles on saute à pieds joints à l’appel de la sincérité et de la désinvolture.
Erwan makes alternative folk that soothes and stirs, as vast as it is introspective. Carried by his high, veiled voice, delicate as a whisper, fierce as a storm, his songs, soaked in acoustic strings wrapped in a lo-fi texture, carry clear and profound lyrics. Puddles colored by emotion, Enfantillages (as aptly named as his EP), lilting chirps, old Casio keyboards, rubber-bridged guitars you can leap into with both feet at the call of sincerity and nonchalance.
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Ce contenu provient de Coup de cœur francophone et est adapté par PAN M 360
Un coin du ciel avec Alex Burger et invité.e.s
Si la musique est une place, Alex Burger est à la sienne sur un stage, avançant ses tounes avec un proverbial naturel désarmant, enchaînant ballades contemplatives et cavalcades rock avec sa voix et son verbe décomplexés et sagaces. Là, dans Un coin du ciel (pas volé, mais emprunté à Renée Martel), le Burger réunit le meilleur du country d’ici, Mara Tremblay, Fred Fortin et Stephen Faulkner, Arielle Soucy, Veranda, Tom Chicoine, Cindy Bédard, Patrick Bourdon, pour célébrer « à l’ouest » du mainstream. Nenon, c’est pas pour éloigner les puristes ; juste pour fêter ben comme il faut ceux.elles qui tapent leur propre trail.
If music is a place, Alex Burger is right at home on stage, rolling out his tunes with a proverbial, disarming ease, stringing together contemplative ballads and rock stampedes with his unrestrained, sharp voice and words. There, in Un coin du ciel (not stolen, but borrowed from Renée Martel), Burger brings together the best of local country, Mara Tremblay, Fred Fortin and Stephen Faulkner, Arielle Soucy, Veranda, Tom Chicoine, Cindy Bédard, Patrick Bourdon, to celebrate “out west” of the mainstream. No no, it’s not about pushing purists away; just about throwing a proper party for those who carve out their own trail.
Spaghatt
Bon, chaud et « sauceux » par nomination, Spaghatt sert à ses fidèles et à qui veut bien, licks collants de pedal steel, hooks qui débarrent les genoux et paroles franches, oscillant-titubant entre les amours déchus, la fête et la route. De Stephen Faulkner à Emmylou Harris, en passant par Colter Wall, la plâtrée de sons de première qualité dont le duo (Émile Touzin-Patrick Bourdon) s’est gavé texturise une signature Country Americana classique et actuelle. Faut goûter la « P’tite criss », la seule de leurs chansons au menu du buffet de l’Internet, pour en (re)commander.
Hot, good, and “saucy” by nomination, Spaghatt serves up to its loyal fans, and anyone else willing, sticky pedal steel licks, knee-loosening hooks, and frank lyrics, teetering between lost loves, partying, and the open road. From Stephen Faulkner to Emmylou Harris, and even Colter Wall, the platter of top-notch sounds that the duo (Émile Touzin–Patrick Bourdon) indulges in shapes a signature Country Americana that’s both classic and contemporary. You’ve got to try “P’tite criss,” the only one of their songs on the Internet buffet, to order more.
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Ce contenu provient de Coup de cœur francophone et est adapté par PAN M 360
chanson keb franco / Folk
Coup de coeur francophone : Joseph Marchand au Ministère
Joseph Marchand n’a jamais chanté du Léo Ferré dans son auto en mangeant des huîtres. Enfin, si. Mais comme non-acteur. Dirigé par Stéfane Lafleur. Son ami scénariste et réalisateur. Pas de ses albums. Juste de Chef d’orchestre. Une comédie existentialiste sur lui, avec lui. Quand il ne non-joue pas, il joue quand même, mais de la musique, qu’il compose pour des productions télévisuelles, cinématographiques, dramatiques, ou pour lui. Mais alors, il devient Joseph Mihalcean. Tout cela est compliqué. L’essentiel, c’est qu’un nouvel album y est.
Joseph Marchand has never sung Léo Ferré in his car while eating oysters. Well, actually, he has. But as a non-actor. Directed by Stéfane Lafleur. His friend, screenwriter and filmmaker. Not from his albums. Just from Chef d’orchestre. An existential comedy about him, with him. When he’s not non-acting, he’s still playing, but music this time, which he composes for television, film, theatre, or for himself. But then, he becomes Joseph Mihalcean. It’s all rather complicated. What matters is: there’s a new album.
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Ce contenu provient de Coup de cœur francophone et est adapté par PAN M 360