Festival de Jazz – Brazil’s Luedji Luna Brings The Snow to Montreal
by Sandra Gasana
Despite the first snowfall of the season, this didn’t stop music lovers from coming to Studio TD to see Bahian singer Luedji Luna. Not her first time in the metropolis, but a first in this venue. “I remember when I first came to Montreal, it was for the Festival de Jazz, outdoors,” she recalls. Most of the songs were taken from her third album Bom Mesmo é Estar Debaixo d’Àgua Deluxe, with a track of the same name.Accompanied by her musicians – drums, bass, keyboards and percussion – she took to the stage wearing an electric grey dress. With her unique blend of jazz, Afro-Brazilian rhythms, soul and RnB, she offers us a Brazilian version of some of the classics that rocked our youth. She opens with Metàfora, which sounds like something straight out of the 90s, and Pele, on which she collaborated with Ethiopian artist Mereba, who wasn’t there but whose voice we heard.
She covers two classics during her show, Sade’s No Ordinary Love and a track by Brazilian artist Djavan, but adds her own touch to it. In fact, she launched the “Luedji Sings Sade” concept in Brazil. Of course, she couldn’t leave without performing the song that marked a turning point in her career, Banho de Folhas, to which she invites the crowd to dance, much to their delight.
The opening act was Glowzi, a DJ/singer accompanied by a trumpet player, and together they set the perfect mood to welcome Luedji, mixing soul, electro, RnB and jazz. They also took the opportunity to send a message of solidarity to Palestine, Darfur and the Tigray region.
OSM : Charlebois symphonique, une célébration grandiose avec l’OSM – Supplémentaires
by Rédaction PAN M 360
Après l’immense succès rencontré par le concert Charlebois symphonique au mois d’août dernier, l’OSM vous propose de retrouver Robert Charlebois et ses invités pour des supplémentaires de ce concert mémorable. Charlebois, ce géant de la musique, revisitera ses plus grandes chansons en version symphonique, dont Ordinaire, Je reviendrai à Montréal et quelques trésors cachés.
After the immense success of the Charlebois symphonique concert last August, the OSM invites you to join Robert Charlebois and his guests for additional performances of this memorable concert. Charlebois, a giant in music, will revisit his greatest songs in a symphonic version, including Ordinaire, Je reviendrai à Montréal, and a few hidden gems.
OSM : Ravel et Prokofiev par Weilerstein et Payare
by Rédaction PAN M 360
Le ballet Daphnis et Chloé est l’évocation poétique d’une nature idyllique et d’une Grèce rêvée par Ravel. Les couleurs chatoyantes de l’orchestre et la finesse de l’écriture confèrent à cette partition une délicate sensualité. Autre joyau au programme : la Sinfonia concertante de Prokofiev. Cette œuvre de caractère, teintée d’un humour sarcastique, sera servie par l’immense talent de la violoncelliste Alisa Weilerstein.
The ballet Daphnis et Chloé poetically conjures an idyllic natural setting combined with elements of Greek Antiquity as imagined by Maurice Ravel, to the orchestra’s glistening hues and subtle inflections, that endow this work with graceful sensuality. The program’s other precious gem is Prokofiev’s Sinfonia Concertante, a colourful piece tinged with sarcasm and humour, brought to life through Alisa Weilerstein’s powerful artistry.
Plongez dans l’univers du concerto, une forme musicale intemporelle qui continue d’enchanter les mélomanes de tous âges. Qu’il soit interprété au piano, au violoncelle ou au trombone, découvrons ensemble les secrets de cette forme musicale captivante en compagnie de trois solistes exceptionnels, lauréat.es du prestigieux Concours OSM. Un concert riche en découvertes, idéale pour éveiller la curiosité et la passion des jeunes mélomanes!
Dive into the world of the concerto, a timeless musical form that continues to captivate music lovers of all ages. Whether brought to life on the piano, cello, or trombone, let’s uncover the secrets of this fascinating genre together with three exceptional soloists, prize winners of the prestigious OSM Competition. A concert rich in discoveries, perfect for sparking curiosity and passion in young music enthusiasts!
Imaginez entendre les chansons Holographic Thinking ou Astronomy Domine en version symphonique… Le mythique groupe québécois, qui depuis 40 ans se démarque sur la scène mondiale par sa vision unique de la norme métallique, se joindra à l’OSM pour deux concerts exceptionnels dirigés par Dina Gilbert. Soyez des nôtres pour cet évènement qui marquera à jamais la scène montréalaise!
Imagine hearing symphonic versions of the songs Holographic Thinking or Astronomy Domine… This legendary Quebec band, which for the past 40 years has stood apart on the global scene as unique visionaries of the heavy metal genre, will join the OSM for two awesome concerts conducted by Dina Gilbert. You don’t want to miss this event; it will mark the Montreal soundscape forever!
La soirée débutera par un concert exceptionnel de Bonsa, artiste du Burkina Faso, connu pour sa capacité à fusionner les musiques traditionnelles bissa avec des influences contemporaines mondiales. En tant que griot cosmopolite, il emmènera le public dans un voyage musical unique.Tout au long de la soirée, un repas chaud aux saveurs ouest-africaines sera servi, avec un plat authentique qui vous fera voyager à travers les arômes et épices de l’Afrique de l’Ouest.
Après le concert, place à la SOIRÉE DANSANTE TROPICALE. Vous pourrez danser sur des rythmes tropicaux du monde entier dans une ambiance festive et joyeuse. La soirée sera accompagnée de cotillons et champagnette pour célébrer ensemble l’arrivée du nouvel an et se créer des souvenirs mémorables.
The evening kicks off with an exceptional concert by Bonsa, an artist from Burkina Faso known for his ability to fuse traditional Bissa music with contemporary global influences. As a cosmopolitan griot, he will take the audience on a unique musical journey.throughout the evening, a hot meal with West African flavors will be served, with an authentic dish that will take you on a journey through the aromas and spices of West Africa.
After the concert, make way for the TROPICAL DANCING EVENING. You’ll be able to dance to tropical rhythms from all over the world in a festive and joyful atmosphere. The evening will be accompanied by cotillons and champagnette to celebrate the arrival of the New Year together and create unforgettable memories.
Une programmation explosive comme la SAT sait en faire, mêlant jungle, breakbeat, techno et house, savamment sélectionnée pour un rave mémorable! Pas moins de cinq headliners seront présents sur les deux étages de la SAT en plus de deux b2b survoltés et des visuels immersifs pour compléter le tout. Tim Reaper (UK) • PLO Man (DE) • Physical Therapy (US) • Dave P (US) • M.Bootyspoon (CA) Breakcheck b2b Liv K • C Lia b2b Ekitwanda
An explosive program as the SAT knows how, mixing jungle, breakbeat, techno and house, skilfully selected for a memorable rave! No less than five headliners will be present on both floors of the SAT, plus two supercharged b2b and immersive visuals to complete the package. Tim Reaper (UK) – PLO Man (DE) – Physical Therapy (US) – Dave P (US) – M.Bootyspoon (CA) Breakcheck b2b Liv K – C Lia b2b Ekitwanda
Inspiré par la poésie de Sylvia Plath, I Am Vertical réunit les ensembles Sixtrum et Cordâme dans une rencontre inédite entre percussions, voix et cordes.
Les compositions de Jean Félix Mailloux, mises en musique par la voix de Coral Egan, donnent vie aux mots de Plath, invitant le public à une exploration intime des émotions humaines.
Composé de virtuoses aux multiples talents, l’ensemble de percussion Sixtrum renouvelle sans cesse son univers en se confrontant à d’autres disciplines et genres artistiques. Chacune des collaborations du groupe vise à trouver des formes d’expression inédites et des manières originales de toucher le public.
Piloté par le prolifique compositeur et contrebassiste Jean Félix Mailloux, Cordâme est un ensemble montréalais de musique de chambre qui explore les sonorités des cordes, aux frontières du classique et du jazz. L’ensemble offre des concerts chargés d’émotion grâce à une musique subtile et sensible.
Inspired by the poetry of Sylvia Plath, I Am Vertical brings together the Sixtrum and Cordâme ensembles in an original encounter between percussion, voice and strings.
Compositions by Jean Félix Mailloux, set to music by the voice of Coral Egan, bring Plath’s words to life, inviting the audience to an intimate exploration of human emotions.
Composed of multi-talented virtuosos, the Sixtrum percussion ensemble constantly renews its universe by confronting other disciplines and artistic genres. Each of the group’s collaborations aims to find new forms of expression and original ways of reaching audiences.
Led by prolific composer and double bassist Jean Félix Mailloux, Cordâme is a Montreal-based chamber music ensemble that explores the sonorities of strings at the frontiers of classical and jazz. The ensemble offers emotionally-charged concerts of subtle, sensitive music.
EAF et la SAT s’associent pour un événement unique mêlant musique et nourriture! RDV le 20 décembre pour une nuit festive de bouchées sonores et gastronomiques! Avec la venue pour la première fois à Montréal du producteur électronique japonais Foodman, EAF s’est amusé à imaginer un concept de show avec service de nourriture: un act = un plat. Le chef Ethan Denovan a donc conçu un plat spécial pour chaque performance dont vous trouverez le détail ci dessous.
EAF and SAT join forces for a unique event combining music and food! Join us on December 20 for a festive night of sound and food! With Japanese electronic producer Foodman coming to Montreal for the first time, EAF had some fun imagining a show concept with food service: one act = one dish. Chef Ethan Denovan created a special dish for each performance, detailed below.
Émile Bourgault at Sala Rossa | The Celebrated DoesThings in Style
by Sami Rixhon
Émile Bourgault turned 21! This very evening, November 27. Instead of treating himself to a night out with friends, the young musician from Montreal’s South Shore treated himself to a show at the Sala Rossa. The gang probably went out to celebrate Bourgault with a few drinks afterwards, in fact, but let’s start with the essentials: the music…
I’ve been following Émile Bourgault for a long time. I got to know him over three years ago as an undecided student at Cégep du Vieux Montréal. Then I appreciated his performance at the Francouvertes 2022, and a few months later I saw him play at Osheaga, on the Arbres stage, in front of a small crowd of a hundred people. He even gave a performance in my father’s garden, that’s saying something!
And each time, it gets better and better. You can see that he’s gaining experience and confidence. It’s not the first time I’ve written about him, but I’m pretty sure he’ll be treading the boards at Club Soda for his solo project very soon.
In two years, big max.
Bourgault opens his show with the title track from his, so far, only album, Tant mieux, then continues with Nœud coulant. He has a touch of Pierre Lapointe about him on these sad songs, a touch magnified by the invaluable help of melancholic par excellence Félix Dyotte, who produced his long project. The more Émile Bourgault matures, the more sorrow he experiences, and the more beautiful things he has to say (which we, as an audience, will feel even more) in tracks where spleen is so much in the foreground.
For the moment, it’s on the more pop songs that Bourgault excels, in my opinion, such as Juillet or Les aiguilles, which gives the impression of listening to a Thierry Larose who’s just discovered the saxophone – excellent lines from Florence Beauquier-Léger on sax, by the way, probably the most outstanding accompanying musician of the evening. As for Monique, she’s more into rock, and very well at that, which tells us that Émile Bourgault should perhaps explore this avenue a little more, to get a more eclectic sound.
“I know I still have a crowd at the end of the session, so thank you all for being here,” he breathes before performing Ma dépendance.
Throughout his show, Émile Bourgault will be performing duets with various emerging artists, including Sofia Duhaime (on Nos amours cimetières), his girlfriend Sam Tanguay (on L’oreiller) and Otto (on Si tu pars). But it was the performance of Ailleurs, with Louis-Julien Durso, that stole the show during the evening. The two young men have known each other for years, and you can feel it. You can feel the chemistry, the extra something when they take the mic together. In fact, it was Durso who was responsible for staging the show.
Bourgault will not be performing any songs from his first two EPs. He’ll prefer covers, new material… not even Pauvre & malheureux, which was a big hit with the music-loving student community of Old Montreal (and other CEGEPs in town). We understand that Émile is looking ahead, he’s determined and will most likely succeed.
The project hasn’t reached its final stage, and Émile is still trying to find his feet, but when he does, he’ll have to be prepared. It’s going to happen fast.
Just before the encore, Bourgault performs Les aiguilles. The audience sings along to the chorus, perfectly. There’s no better gift. Especially for his birthday.
Les dauphins et les licornes céréales
Céréales Dauphin. Funny name. The Sainte-Thérèse troupe opened the ball before Émile took to the stage later in the evening. I left with a certain preconceived notion that I hadn’t been charmed by their only song released on platforms, Lucky Charms. But live, it’s something else.
The quintet do very well on stage, and the technical level, for the age of the members (in their early twenties), is excellent. There’s a touch of The Strokes in the sound, combined with a high-school style of dress. Now we’ll have to make more material appear, but the potential is there.
A name that could, I’m not surprised to say, find its way into the Francouvertes 21 in a few years’ time.
LIST OF SONGS ON THE PROGRAM (ÉMILE BOURGAULT)
1. Tant mieux 2. Nœud coulant 3. Juillet 4. Ma dépendance 5. Nos amours cimetières (avec Sofia Duhaime) 6. Les souvenirs heureux 7. Ailleurs (avec Louis-Julien Durso) 8. L’oreiller (avec Sam Tanguay) 9. Always on my mind (avec Norah Lapointe) 10. Monique 11. J’imagine 12. Si tu pars (avec Otto) 13. Marcher, passer, partir 14. Les aiguilles
The Maison Symphonique vibrated this Sunday afternoon under the bows, mouthpieces and voices of the students of the McGill Symphony Orchestra, the Schulich Chamber Choir and the McGill University Choir. No fewer than 230 musicians took to the stage to honour this remarkable music on an impressive program spanning the 20th-century and diverse aesthetics.
While their Pollack concert hall is closed, the ensembles take advantage of the opportunity to play in several of the city’s venues. This time, it was the Maison Symphonique. 45 minutes before the start of the concert, the audience was greeted with a musical performance by the Schulich Chamber Choir in the hall’s Foyer. Under the Christmas tree and in front of a very attentive audience, they gave us a fine introduction, led by 6 choirmasters.
As a prelude to the Requiem, the concert got off to a gentle start with the choral piece Ubi Caritas. The 90-strong orchestra, 140 choristers and Maison Symphonique Pierre-Béique organ, conducted by Jean-Sébastien Vallée, followed with a remarkable performance of Maurice Duruflé’s Requiem.
Despite some passages where a little more assurance from the choir would have been appreciated, it nonetheless stood out for its impressive solidity, alternating between melodic passages of great finesse and heart-rending fortissimos. And when choir, orchestra and organ unite, the sonic impact in the hall is staggering. The power of the ensemble literally overwhelms the audience. The fourth movement, Hosanna, stood out for its spectacular intensity, highlighting the hall’s acoustics. In the fifth movement, Pie Jesu, the orchestra showcased mezzo-soprano Javiera Zepeda magnificently, particularly in her high passages, where her vocal mastery combined perfectly with the timbre of the alti and cellos. The Requiem was a highlight of the concert.
Then, after the intermission, the performance of Schoenberg’s Theme and Variations was carried off by a remarkably solid brass section. From the very first expositions of the main theme, articulations were clean and precise, highlighting an essential feature of the work. Each section offered distinctive sonic spaces, allowing the orchestra to reveal all the finesse of the counterpoint and the elegance of the orchestration.
The concert ended with Edward Elgar’s Enigma Variations, taking us into a subtle and mysterious interplay. Each of the 14 variations sketches a sonorous portrait of someone close to the composer, blending tenderness, playfulness and depth, culminating in a final variation in which he reveals himself. The most striking variation was the ninth, Nimrod, in which Alexis Hauser brought a poignant intensity to the musicians. Another impressive moment was the tenth variation, named Dorabella, where strings and woodwind perfectly captured the mischievous laughter of Elgar’s friend Dora Penny, offering a moment of lightness and humor. Finally, perhaps in some passages the trombonists overdid the power of their instrument, but we forgive them.
Altogether, it was a magnificent concert, in which the musicians seemed to be fully inspired by the grandeur of the venue. Before plunging into the holiday spirit, this afternoon put a balm on our November blues.
photo : Tam Photography
Subscribe to our newsletter
Manage Cookie Consent
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.
