La musique de la famille Bach et de leur entourage rassemble autant les amateurs de musique que les interprètes. Lorsque Jean-Sébastien dirigeait au Café Zimmermann de Leipzig son désormais célèbre Collegium musicum, il avait à présenter à un public avisé mais avide de nouveautés une quantité d’œuvres impressionnante. Pour ce faire, il pouvait puiser non seulement dans sa propre production, mais aussi dans celle de ses talentueux fils, de son grand ami Telemann et de son estimé collègue Johann Friedrich Fasch. Venez vous détendre comme si vous y étiez, en savourant des œuvres orchestrales et concertantes animées par les codirecteurs de l’ensemble français Café Zimmermann, la claveciniste Céline Frisch et le violoniste Pablo Valetti. The music of the Bach family and their entourage attracts music lovers and performers alike. When Johann Sebastian conducted his now-famous Collegium musicum at Leipzig’s Café Zimmermann, he had to present an impressive number of works to a discerning but eager audience. In doing so, he was able to draw not only on his own output, but also that of his talented sons, his great friend Telemann and his esteemed colleague Johann Friedrich Fasch. Come and relax as if you were there, enjoying orchestral and concertante works brought to life by the co-directors of the French ensemble Café Zimmermann, harpsichordist Céline Frisch and violinist Pablo Valetti.
Le Quatuor selon Ali-Zadeh – Concert de l’intégrale des 7 quatuors à cordes
by Rédaction PAN M 360
Le Quatuor Molinari présentera l’intégrale des quatuors de la compositrice azérie Franghiz Ali-Zadeh et fera la création de son 7e quatuor que la compositrice a écrit pour le Quatuor Molinari. La compositrice azérie Franghiz Ali-Zadeh, est reconnue à travers le monde comme une importante compositrice dont les œuvres font le pont entre les musiques de sa région natale de l’Asie du sud-ouest et la musique occidentale et c’est un grand honneur qu’elle ait acceptée d’écrire un nouveau quatuor pour le Molinari.
Le concert sera précédé à 18h30 de la conférence intitulée Ali-Zadeh : Tisser le Levant et le Couchant, donnée par Nicolas Jobin
Dilogia (1988)
Mugam Sayagi (1993)
Oasis (1998)
In Search of … (2005)
Reqs (Danse) (2015)
Fanfares for Ligeti (2023)
Création (2025)
The Quatuor Molinari will present the complete quartets of Azeri composer Franghiz Ali-Zadeh, and will premiere her 7th quartet, written by the composer for the Quatuor Molinari. Azeri composer Franghiz Ali-Zadeh is recognized worldwide as an important composer whose works bridge the gap between the music of her native southwest Asia and Western music, and it is a great honor that she has agreed to write a new quartet for the Molinari.
The concert will be preceded at 6:30 pm by a lecture entitled Ali-Zadeh: Tisser le Levant et le Couchant, given by Nicolas Jobin.
Le Quatuor selon Ali-Zadeh – Dialogue sur le Plateau : Les quatuors à cordes d’Ali-Zadeh
by Rédaction PAN M 360
Le Quatuor Molinari présente un événement de trois jours autour de la compositrice azérie Franghiz Ali-Zadeh.
La compositrice azérie Franghiz Ali-Zadeh, est reconnue à travers le monde comme une importante compositrice dont les œuvres font le pont entre les musiques de sa région natale de l’Asie du sud-ouest et la musique occidentale. Elle est aussi une pianiste de concert, directrice artistique de festivals de musique et régulièrement appelée à être membre de jury de concours internationaux.
Dialogues sur le Plateau.
Lors de ce Dialogue, les musiciens et la compositrice Franghiz Ali-Zadeh parcourront les quatuors en expliquant et faisant entendre les différentes références aux mugam, musiques nationales azéries qui sont présentes dans ses quatuors à cordes.
Soyez les premiers à entendre le tout nouveau quatuor que la compositrice a écrit pour le Molinari à l’occasion de l’événement «Le Quatuor selon Ali-Zadeh».
Venez discuter avec nous et rencontrer la grande compositrice de renom.
The Quatuor Molinari presents a three-day event focusing on Azeri composer Franghiz Ali-Zadeh.
Azeri composer Franghiz Ali-Zadeh is recognized worldwide as an important composer whose works bridge the gap between the music of her native Southwest Asia and Western music. She is also a concert pianist, artistic director of music festivals and a regular jury member at international competitions.
Dialogues on the Plateau.
During this Dialogue, musicians and composer Franghiz Ali-Zadeh will go through the quartets, explaining and playing the various references to mugam, Azeri national music, that are present in her string quartets.
Be the first to hear the brand-new quartet the composer has written for the Molinari on the occasion of the event “The Quartet according to Ali-Zadeh”.
Come and chat with us and meet the renowned composer.
CET ÉVÉNEMENT EST GRATUIT!
Ce contenu provient du Quatuor Molinari et est adapté par PAN M 360.
Le Quatuor selon Ali-Zadeh – Table ronde : Le folklore dans la musique contemporaine
by Rédaction PAN M 360
Le Quatuor Molinari présente un événement de trois jours autour de la compositrice azérie Franghiz Ali-Zadeh.
La compositrice azérie Franghiz Ali-Zadeh, est reconnue à travers le monde comme une importante compositrice dont les œuvres font le pont entre les musiques de sa région natale de l’Asie du sud-ouest et la musique occidentale. Elle est aussi une pianiste de concert, directrice artistique de festivals de musique et régulièrement appelée à être membre de jury de concours internationaux.
Table ronde : Le folklore dans la musique contemporaine.
La musique d’Ali-Zadeh est très influencée par le folklore azéri et des peuples avoisinants. Les invités de la table ronde discuteront de l’usage des musiques et influences nationales dans la musique contemporaine. Les jeunes compositeurs sont-ils attachés au folklore national de leur pays? La mondialisation s’est-elle invitée dans la composition? Est-ce que cette avenue est révolue et appartient à une autre génération de compositeurs?
Invités : Franghiz Ali-Zadeh, Ana Sokolovic, Nicolas Gilbert, Jonathan Goldman et Maxime McKinley
La table ronde se tiendra dans la salle de récital du Conservatoire de Montréal. L’entrée est libre.
The Quatuor Molinari presents a three-day event focusing on Azeri composer Franghiz Ali-Zadeh.
Azeri composer Franghiz Ali-Zadeh is recognized worldwide as an important composer whose works bridge the gap between the music of her native Southwest Asia and Western music. She is also a concert pianist, artistic director of music festivals and a regular jury member at international competitions.
Round table: Folklore in contemporary music.
Ali-Zadeh’s music is heavily influenced by Azeri folklore and that of neighboring peoples. Roundtable guests will discuss the use of national music and influences in contemporary music. Are young composers attached to their country’s national folklore? Has globalization made its way into composition? Is this an avenue for another generation of composers?
Guests: Franghiz Ali-Zadeh, Ana Sokolovic, Nicolas Gilbert, Jonathan Goldman and Maxime McKinley
The round table will be held in the Conservatoire de Montréal’s recital hall. Admission is free.
CET ÉVÉNEMENT EST GRATUIT!
Ce contenu provient du Quatuor Molinari et est adapté par PAN M 360.
L’artiste hip-hop vous présente les pièces frappantes et engagées de son nouvel album La mort du troisième couplet.
Inspirée par l’univers du théâtre et du documentaire, Sensei H revient avec un spectacle qui veut présenter le rap autrement, avec le charisme qu’on lui connaît. Vivre une expérience hors du commun est au cœur de l’intention. La mort du troisième couplet explore l’éclectisme voyageant de la house aux sonorités trap/rock, en passant par du hip-hop pur. Cette démarche explique pourquoi on retrouve autant la dimension électronique qu’acoustique lors de ses performances sur scène. The hip-hop artist presents striking, committed tracks from his new album La mort du troisième couplet.
Inspired by the world of theater and documentary, Sensei H is back with a show that aims to present rap in a different way, with the charisma she’s known for. The intention is to offer an extraordinary experience. La mort du troisième couplet explores an eclectic mix of house, trap/rock and pure hip-hop. This approach explains why his live performances are as much electronic as acoustic.
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.
Faculté de musique de l’UdeM | An Effective Evening at The Opera
by Alexandre Villemaire
The 2024-2025 season of the Université de Montréal’s Faculty of Music is currently in full swing. Perched on the slopes of Mont-Royal at the top of the famous Vincent-d’Indy Avenue hill, around a hundred people gathered in Salle Claude-Champagne on Saturday to hear the current crop of young singers. It was a great opportunity to discover them in preparation for their production of Hansel und Gretel by Engelbert Humperdinck (1854-1921), to be presented at the end of February. The students were accompanied by pianist/conductor Robin Wheeler and Alona Milner.
A sober evening, presented in gala form without extravagant presentation or complex staging, but not lacking in quality moments. In this operatic evening, several excerpts from works covering a vast spectrum of the operatic repertoire were presented. From German Romantic opera to bel canto, operetta and Baroque opera, it was a seamless transition. This panorama allows us to see the different performers in action, in a variety of styles, lyrical expressions and character incarnations. Verdi’s Witches from Macbeth opened the evening. With piercing eyes, the sopranos and mezzos of this chorus presented a biting, menacing reading of this page of verismo. The few choral numbers that graced the program were among the evening’s most appreciated for their strength and technical precision. The overall sound was enveloping, the articulation just right and precise. A case in point was the excerpt from Mozart’s Idomeneo “Placido è il mar… Soavi Zeffrini”, where the balance of voices between the numerous women’s voices and the five men’s voices was soaring, balanced and complementary to Marie France Eba Koua’s singing.
In terms of individual voices, several performances caught our attention. Among the men’s voices, baritone Élie Lefebvre-Pellegrino stood out for his beautiful, resonant, full, round and slightly brassy low register, coupled with good stage presence. His interpretation of Nilakantha’s aria from Léo Delibes’ Lakmé was assured and committed, as was his performance as Count Almaviva in the duet “Crudel! Perche s’ignora” duet from The Marriage of Figaro with Kevisha Williams. However, his passages in the upper register still need to be stabilized. Fellow singer Théo Raffin offered some of his best stage performances in Don Giovanni’s Leporello (“Sola, sola in buio loco”) and Romeo and Juliet’s Mercutio (“Mab, la reine des mensonges”). In both cases, his interventions were both interpretative and vocal. The only bass in the cohort, Andrew Erasmus delivered the difficult aria “O du Mein Holder Abendstern” from Wagner’s Tannhäuser with finesse and sensitivity.
As for the female voices, Maëlig Querré (mezzo-soprano) made a good impression in her role as Romeo from Bellini’s I Capuletti e i Montecchi. Her agile, assured voice with a sonorous low register complemented Nicole Ross’s Giulietta, who, despite great strength and agility in her high notes, reached the end of her range by the end of the aria. Cloée Morisette and Clotilde Moretti were equally sparkling in an excerpt from Carl Maria von Weber’s Freischütz. Another name to remember is mezzo-soprano Julie Boutrais. She distinguished herself in the duet from Moneverdi’s opera L’Incoronazione di Poppea, performed with Salomé Karam. Playing respectively King Nero and his lover Poppea, the two singers perfectly captured the passionate feelings and intoxication evoked in “Signor, oggi rinasco” as Nero announces to Poppea that she is to be his wife. Julie Boutrais also brought the evening to a close with her warm, embodied voice in Dido and Æneas‘ final aria “When I am laid in Earth”, followed by the final chorus from the same opera. A moment that sent shivers down our spines.
If we have to make one slight criticism of the concert, it’s the lack of detail in the program. A gala-style singing recital featuring a succession of arias, duets, trios and choruses from different periods and styles allows the singers to express themselves in a variety of roles and characters, and at the same time introduces the audience to protagonists and operas with which they may be less familiar. It would be a good idea to provide a little context for these works, to situate them for the audience. The excerpt from the trio “Je vais d’un cœur aimant” from Hector Berlioz’s opera Béatrice et Bénédict is a good example. Maëlig Querré, Maïlys Arbaoui-Westphal and Anne-Sophie Gagnon-Metellus performed this excerpt from a little-performed opus well, and would have deserved a little program note to appreciate it even more.
Marathon | P’tit Belliveau at MTELUS, Baptism of Fire
by Sami Rixhon
First MTELUS in the sights for Jonah Guimond, aka P’tit Belliveau. After four Club Soda gigs in one year, it was time to get down to business. The real deal. And as the challenge was met with flying colors by the merry Acadian troupe, oh yes.
P’tit Belliveau is now entering the big leagues, finally treading the boards of this Montreal temple. A far cry from the young, fiery Jonah Guimond of Les Grosses Coques, who confined himself to his sometimes limited country-pop sympathies. The native of Baie Sainte-Marie, Nova Scotia, has reaffirmed himself all the more in this particularly audacious artist, who makes a mockery of industry codes and is devilishly entertaining.
P’tit Belliveau kicks off his show with Depuis que la neige a fondu and Moosehorn Lake, from his first two projects. Alternating throughout the show between banjo and electric guitar, he presents a majority of songs from his new album, the namesake P’tit Belliveau, exploring pop-punk corners à la Blink-182 as much as metal or rap avenues. Bold, I tell you.
“If there’s one person in the room who’s not singing, I’ll take my music off Spotify and stop the show,” he warns, before performing the gritty Mon drapeau acadjonne viens d’Taïwan. There’s everything you want in a P’tit Belliveau concert. Want a laugh? Check out the projections behind the band, featuring everything from exercising frogs to John Deere tractors. Want to be baffled? Let yourself be surprised by a baffling extramusical interlude where a wrestler, out of nowhere, comes on stage to fight the band, only to be brought down by a shirtless P’tit Belliveau – “Never fuck with P’tit Belliveau. Ever,” he adds afterwards. Prefer to move? Go to the front of the stage, among his faithful followers throwing mosh pits to absolutely anything. There’s something for everyone.
Hats off to the accompanying musicians, particularly talented and entertaining with their wacky choreography and their mandolin and fiddle solos galore. Two members of the delirious punk quartet Peanut Butter Sunday (Normand Pothier and Jacques Blinn) have been playing with P’tit Belliveau on stage for some time now, which may explain the rock bent Guimond is increasingly exploiting in his compositions.
The Acadian artist closes the regular part of his show with RRSP/Grosse pièce, from his second album, then returns to the stage for an excellent encore mixing children’s songs (L’arbre est dans ses feuilles), new material (L’église de St. Bernard) and old hits (J’aimerais d’avoir un John Deere and, of course, Income Tax). The audience wants more and more, forcing the band to come back and jam for a few minutes for a second, seemingly impromptu encore.
P’tit Belliveau reiterated several times in the show how grateful he is to count on the unfailing support of his public and his chums, for so many years (something he already said in Demain). Thanks to you, P’tit Belliveau, for proposing such a singular offering in a local industry that’s often too standardized. Quite simply, one of today’s finest Franco-Canadian artists.
Ce contenu provient de M pour Montréal et est adapté par PAN M 360
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