Violons du Roy: Le Messie de Handel avec Bernard Labadie
by Rédaction PAN M 360
Personne ne reste indifférent devant les interprétations exceptionnelles du Messie de Handel qu’offrent les forces réunies de La Chapelle de Québec, des Violons du Roy et de Bernard Labadie. Pour ce Messie du 40e anniversaire, dans une 18e production de l’œuvre par Les Violons du Roy, Bernard Labadie réunit, une fois de plus, un exceptionnel quatuor de solistes, incluant Liv Redpath et William Thomas dans leurs débuts au Québec.
No one can remain indifferent to the exceptional interpretations of Handel’s Messiah offered by the combined forces of La Chapelle de Québec, Les Violons du Roy and Bernard Labadie. For this 40th anniversary Messiah, in Les Violons du Roy’s 18th production of the work, Bernard Labadie once again brings together an exceptional quartet of soloists, including Liv Redpath and William Thomas in their Quebec debut.
Chamberdestroy / Thin Edge New Music Collective & Paramirabo au Conservatoire de Montréal
by Rédaction PAN M 360
ChamberDestroy réunit les ensembles de musique contemporaine Paramirabo (Montréal) et Thin Edge New Music Collective – TENMC (Toronto) autour d’un objectif artistique commun. Pour cette occasion, les deux ensembles célèbrent une collaboration fructueuse avec la première de ChamberVania de Nicole Lizée, Datura de Yaz Lancaster, ainsi que des œuvres de Louis Andriessen et Julius Eastman.
Nicole Lizée, compositrice imaginative basée à Montréal, fusionne musique contemporaine, technologie et culture populaire dans ses œuvres. Yaz Lancaster, artiste transdisciplinaire de New-York, explore l’esthétique relationnelle et la politique libératoire. Le style expérimental de Louis Andriessen, développé en réaction aux traditions sérialistes d’après-guerre, et la texture harmonique envoûtante de Joy Boy de Julius Eastman enrichissent ce projet.
Soutenu généreusement par The Music Gallery, le Conseil des arts du Canada, le Conseil des arts de l’Ontario et le Conseil des arts de Toronto, ce projet met en avant des instruments personnalisés et des graphiques qui relient les mondes du jeu vidéo et de la musique de chambre.
ChamberDestroy unites the contemporary music ensembles Paramirabo (Montreal) and Thin Edge New Music Collective – TENMC (Toronto) around a common artistic goal. On this occasion, the two ensembles celebrate a fruitful collaboration with the premiere of Nicole Lizée’s ChamberVania, Yaz Lancaster’s Datura, and works by Louis Andriessen and Julius Eastman.
Nicole Lizée, an imaginative Montreal-based composer, fuses contemporary music, technology and popular culture in her works. New York-based transdisciplinary artist Yaz Lancaster explores relational aesthetics and liberatory politics. The experimental style of Louis Andriessen, developed in reaction to post-war serialist traditions, and the haunting harmonic texture of Julius Eastman’s Joy Boy enrich this project.
Generously supported by The Music Gallery, the Canada Council for the Arts, the Ontario Arts Council and the Toronto Arts Council, this project features custom instruments and graphics that link the worlds of video games and chamber music.
Ce concert exceptionnel, consacré à Hector Berlioz, offrira au public l’occasion rare de vivre en direct l’enregistrement de ces deux célèbres chefs-d’œuvre. Les cloches de carillon nouvellement acquises par l’OSM ajouteront une dimension sonore unique à cet événement.
Venez partager ce moment privilégié avec l’OSM et Rafael Payare, et prenez part à une expérience artistique à la fois captivante et inoubliable!
This exceptional concert, dedicated to Hector Berlioz, will offer audiences the rare opportunity to experience live the recording of these two famous masterpieces. The OSM’s newly acquired carillon bells will add a unique sonic dimension to this event.
Come and share this special moment with the OSM and Rafael Payare, and take part in a captivating and unforgettable artistic experience!
Originaire de Peckham via Leeds, Bradley Zero est devenu le créateur de goût de sa génération et l’une des figures les plus importantes de la culture dance music moderne. En tant que fondateur de l’un des meilleurs labels de tous les temps – Rhythm Section – Bradley a contribué à tisser des liens profonds entre la house, le jazz, la soul, l’electronica, la musique dub/système sonore et des sons plus généraux, grâce à des sorties avec des artistes tels que Chaos & the CBD, Nicola Cruz, Hidden Spheres, Pinty, Session Victim, Paula Tape, Wallace et le montréalais Gayance. En tant que DJ de renommée internationale et ancien animateur du Boiler Room pendant ses années d’or, il est une constante dans le cercle des clubs depuis plus d’une décennie, et apporte de façon magistrale une mentalité de fouilleur sur les scènes principales du monde entier. En bref, Bradley est un véritable pilier de la scène mondiale actuelle, et nous sommes ravis de l’avoir au volant de notre dernière jam Ferias de l’année.
Les Ferias vont retourner l’Espace SAT pour une session d’après-midi, apportant avec eux le feeling soulful qui a fait de 2024 une année illustre pour le crew.
Hailing from Peckham via Leeds, Bradley Zero has become the tastemaker of his generation and one of the most important figures in modern dance music culture. As founder of one of the best labels of all time – Rhythm Section – Bradley has helped forge deep links between house, jazz, soul, electronica, dub/sound system music and more general sounds, through releases with artists such as Chaos & the CBD, Nicola Cruz, Hidden Spheres, Pinty, Session Victim, Paula Tape, Wallace and Montreal’s Gayance. As an internationally acclaimed DJ and former Boiler Room host during his golden years, he’s been a constant in club circles for over a decade, masterfully bringing a digger mentality to main stages worldwide. In short, Bradley is a true pillar of today’s global scene, and we’re thrilled to have him behind the wheel of our final Ferias jam of the year.
Ferias will be returning to Espace SAT for an afternoon session, bringing with them the soulful feel that made 2024 an illustrious year for the crew.
LE duo house de Boston, Soul Clap, fête 21 années de collaboration hyperactive avec une tournée mondiale incluant un arrêt par la SAT! Un gros party dans le dôme entre dance music underground et funk, de quoi sérieusement booster sa sérotonine. La DJ montréalaise Andrea de Tour ouvrira la soirée avec un set house/groove bien senti.
THE Boston house duo, Soul Clap, celebrate 21 years of hyperactive collaboration with a world tour that includes a stop at the SAT! A big party in the dome between underground dance music and funk, enough to give your serotonin a serious boost. Montreal DJ Andrea de Tour will open the evening with a heartfelt house/groove set.
Arab World Festival of Montreal | Narcy and Omar Offendum: Two Decades of Friendship in Artistry
by Sandra Gasana
A sword in the shape of Palestine. Here’s what catches the eye right away, in addition to the Arabian-inspired living room that decorates the National’s stage. With red-patterned cushions, a few books and some coffee, it really feels like an evening with friends, featuring art in all its forms.
First, Omar Offendum takes the stage, while Narcy sits in the living room with his guests, including two members of the iconic Montreal hip-hop group Nomadic Massive, Tali and Meryem Saci.
Under a spotlight, cane in hand (his signature), dressed in traditional attire and his black Fez hat, Offendum wields the Arabic and English languages, juggling these two worlds, sometimes mixing them. Narcy serves him coffee from time to time, exchanging anecdotes and teasing each other about Syrian and Iraqi rivalries. An excellent storyteller, he alternates between poetry, storytelling and rapping, all with incredible ease. Building on a twenty-year friendship, Narcy contributes to some of Offendum’s songs, sometimes in English, sometimes in Arabic, and vice-versa. “It’s rare to have an artist friend who still challenges you, even after 20 years,” he says, addressing Narcy. Indeed, you could feel their complicity on stage.
Omar got the room involved with his track I love you, a hymn to love, with old romantic films in the background. The transitions were sometimes rough, juxtaposing classical Arab songs with modern beats. Palestine was in the spotlight during both parts of the show, but also Lebanon, which has been in the headlines in recent weeks. We also learned about important figures in Middle Eastern history such as Nizar Qabbani, a Syrian poet, and Mahmoud Darwish, a Palestinian poet and author who passed away in 2008. He ended with his biggest hit, God is Love, which my neighbors seemed to particularly enjoy, but my favorite was Close My Eyes , a tribute to his father. “I dedicate this song to all those who have lost a loved one,” he shared with us as the video was playing in the background.
After a short intermission, Narcy took Omar’s place and took over, opening with one of his greatest hits, P.H.A.T.W.A, with Al-Jazeera footage and personal archives in the background. Dressed entirely in black leather and a white shirt, he performed other highlights of his 20-year career, including Hamdulillah, featured on the 2009 album The Narcicyst , a collaboration with Shadia Mansour. He invited a number of female collaborators on stage, those he calls “sisters” such as Meryem Saci, with whom he recorded the track 7araga, the Palestian poet Farah, who shared a poem in homage to her native land, and Tali, who opted for a poignant text for the occasion.
To close, he offered us Free, a tribute to children from the World War Free Now album , in collaboration with Ian Kamau, as well as Time, written as a tribute to his grandfather. And what better way to end than with the most recent track, Sword, the proceeds from which will go to Palestinian children. As well as having a strong sense of friendship, family is equally important to Narcy. He invited his family on stage at the end of the concert to greet the audience, inviting them to visit his Maktaba bookshop/library in Montreal’s Old Port.
Artiste nomade peulh du pays des hommes intègres, la destinée du bourlingueur Moulaye Dicko relève presque du mythe. Issu d’une lignée de quatorze enfants, il fortifie son pacte musical à la même source que les rois et reines de l’Empire du Mandé que sont Salif Keita et Oumou Sangaré. Au Mali, ces voix célestes le happe très tôt en son âme née la tradition des griots. Puis adolescent, c’est la fougue reggae ivoirienne qui s’empare de lui. En 2014, Dicko Fils devient la star des pistes de danse avec son tube « Denke Denke » entonné dans sa langue natale, le fulfulde. Abonné aux festivals internationaux, l’artiste doté d’un imaginaire théâtral collabore à la création d’univers scéniques dont le chef d’œuvre Antigone, inspiré par la figure de Mandela. Depuis 2018, la capitale new-yorkaise comme la Ville Lumière ouvrent les bras à cet Ambassadeur de la Paix burkinabé.
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Moulaye Dicko is a nomadic Fulani musician from a land of respectable men, a rolling stone whose journey is the stuff of legends. From a family of fourteen children, he upholds his musical pact to the kings and queens of the ancient Mali Empire, the same source as Salif Keita and Oumou Sangaré. While he was living in Mail, it was their divine voices bearing the griot traditions that first captured his soul. Later, as an adolescent, it was the ardour of Ivorian reggae that pulled at his heartstrings. In 2014, his single “Denke Denke,” sung in his native Fula language, quickly became a dance favourite. A regular at world festivals, Dicko Fils gives expression to his theatrical flair by collaborating in theatrical events, such as the masterpiece Antigone, inspired by the life of Nelson Mandela. Since 2018, the Big Apple, like the City of Lights, has been welcoming this Burkinabé ambassador of peace with open arms.
Le ney fut-il taillé dans le bois de roseau pour imiter le chant aimable des oiseaux? Si cette interrogation mythologique reste sans réponse, le ney est bel et bien un des plus anciens instruments encore utilisé de nos jours, avec une histoire qui remonte à au moins plus de 5000 ans dans l’ancienne Mésopotamie. De cette terre fertile, il a voyagé à travers la Perse et l’Empire ottoman, se faufilant dans les cours royales, les cénacles mystiques des derviches tourneurs, pour finalement résonner dans les traditions musicales contemporaines. C’est dans ce contexte que Ziad Chbat, maître du ney, initiera le public aux secrets de son instrument, oscillant entre exposé didactique et illustrations musicales. Glâneur de mélodies qu’il forge d’improvisations en improvisations, le musicien révélera à quel point sa flûte constitue un pont entre les âges. Aux sonorités tantôt éthérées et spirituelles, tantôt sensuelles, le ney a inspiré ses créateurs, à travers les siècles, à combiner un souffle ancestral souvent mystique aux techniques plus modernes et liées aux émotions humaines.
Gifted ney player Ziad Chbat reveals the secrets of this beautiful age-old instrument. With a history stretching back over 5,000 years to ancient Mesopotamia, this reed flute saw the rise and fall of the Persian and Ottoman empires and continues to enchant audiences to this day. With its haunting, evocative tone, the ney conjures memories of a bygone era. Don’t miss your chance to experience this fascinating instrument up close !
Ce contenu provient du Festival du monde arabe de Montréal et est adapté par PAN M 360
Second stop on Friday October 18 for the Orchestre Métropolitain on its Beethoven marathon at the Maison symphonique with Yannick Nézet-Séguin.
After a heroic introduction the day before, the next kilometer to be covered by the metropolis’ orchestra was devoted to symphonies no 6, known as “Pastorale”, and no 7, preceded by a premiere by young composer Francis Battah, already the recipient of several distinctions in Europe and Canada. His Prelude to Urban Landscapes, which opened the evening, was specifically conceived to precede the first movement of Symphony no 6. In this short piece, Battah reuses several thematic materials from the “Pastorale”, deconstructing and modifying them through complex language and writing. The use of several playing modes (arco for strings, flatterzunge for winds) lends the work a dynamic character and a strong timbral dimension. The piece ends with a ghostly string glissando, before moving straight into the first movement of the Sixth Symphony. The transition is naturally astonishing and fluid, so much so that the musical quotations, which we do not necessarily recognize immediately, but which we distinguish by the evocation of timbre, have prepared our ears for “l’Éveil d’impressions agréables en arrivant à la campagne”.
One of the most descriptive pieces in Beethoven’s symphonic catalog, Symphony no 6 is also one of the composer’s best-known works, in which it can be easy to fall into easy listening and autopilot, so familiar are its themes that they have been played and heard over and over again. Yannick doesn’t take the easy way out. Conducting the entire symphonies by heart, the conductor calls on every musician in his orchestra to sculpt meaningful phrasing and lines. After the luminous energy of the first movement, the second (“Scènes au bord du ruisseau”) plunged the audience into a soothing, restful state with ethereal sonorities. The third movement exuded a genuine village festive spirit, with the winds standing out overall, despite a few minor inaccuracies. After the festivities, thunder is heard in the fourth movement, heralding the storm. A storm that YNZ gently initiates, as if in the distance, before building in intensity to the point of eruption. With careful control of dynamics, the pastoral song that follows concluded the symphony with serenity.
The second part of the concert, dedicated to the Seventh Symphony, offered a contrast in its bright, rhythmic and vital character. The first movement was regal in character, with a tempo that Nézet-Séguin deployed with elegance. Magisterial was the transition from attacca to the famous second movement, a dramatic funeral march, in which everything, from dynamics to nuances, was just right and balanced. The exposition of the movement architecture was finely constructed by the conductor, in particular by highlighting the interaction between the violin and viola lines. The third and fourth movements, marked Presto and Allegro con brio, were a fantastic, breathless ride in which the rider Nézet-Séguin had great fun, almost dancing on the podium, infusing the various sections of the orchestra with a festive, captivating vitality. This performance was the highlight of the evening. At the end of the run, the orchestra received long applause from a relatively large, jubilant audience.
Addressing the crowd, Yannick Nézet-Séguin issued this invitation: “Sunday, 11am. Tell your friends!” The invitation is made. And we’ll be there for the rest of the tour.
Céu, which means “Sky” in Portuguese, arrived on stage dressed all in black, with a necklace to match her dress, long black lace-up boots and a flower tattooed on her shoulder. Her stage presence was remarkable, as she alternated between dance steps and simplistic choreography.
Accompanied by her bassist Lucas Martins, who has been with her since the very beginning, Thomas Harres on drums, Leonardo Caribe Mendes on guitar and cavaquinho and Sthe Araujo, a talented percussionist, the singer transported us into her particular universe, in which she mixes soul, funk, jazz and Brazilian rhythms such as samba, always with a retro background, her signature. In fact, all her musicians are also backing singers, enriching the show.
She mainly shared songs from her most recent album Novela released this year but added hits from her other albums, such as Malemolencia, from the album Céu.
“I’d have loved to speak French with you, but I’m going to go with English,” she tells us from the outset, as several Brazilians in the room shout ”In Portuguese!”
My favorite song is Gerando Na Alta, which she sings as a duet with the Senegalese-born French artist anaiis, but which percussionist Sthe interpreted perfectly in her place. In this song, Céu speaks of the importance of celebrating friendship between women, while the word Novela, taken from the word telenovela, addresses the dramatic aspect of our lives. Some songs had no transition, while she interacted with the audience at other times. She takes the time to showcase her musicians in turn, as she does with Sthe, for example, before the song Lenda, from the album Céu, which opens with percussion.
Much to my delight, we were treated to a reggae sequence, with High na Cachu followed by Cangote from the Vagarosa album. Of course, we couldn’t end the concert without a few covers of Brazilian classics. And for this, she chose two legends: João Gilberto with Bim Bom, and Caetano Veloso with Pardo, both from Bahia.
The highlight of the evening was the encore with Bob Marley’s Concrete Jungle, which she performed beautifully with Haitian singer Paul Beaubrun, who opened the concert. The latter was introduced by his father, the great singer of the group Boukman Eksperyans. “When I saw Paul sing, I said to myself that he had to sing this song with me”, Céu confided. Indeed, Paul seems to be a great fan of Bob Marley, as during the first part he played three songs by the Jamaican icon, always taking care to add his own special touch. However, I would have liked to discover other original compositions such as Noyé, which opened the show.
Véritable égérie acadienne, la grande Édith Butler dont la présentation n’est plus à faire, nous invite à faire Le Tour du Grand Bois, référence à son plus récent album du même nom duquel Lisa LeBlanc a assuré la réalisation. Après 50 ans de carrière, celle qui a fait connaître Paquetville bien au-delà de nos frontières demeure tout aussi inspirée, enthousiaste et énergique. Très peu présente sur les scènes montréalaises depuis quelques années, c’est accompagnée de trois musiciens et du pep dans l’soulier qu’elle nous convie au Théâtre Outremont pour une balade au cœur de son répertoire.
A true Acadian muse, the great Édith Butler, whose name no longer needs introduction, invites us to take Le Tour du Grand Bois, a reference to her most recent album of the same name, produced by Lisa LeBlanc. After a career spanning 50 years, the singer who put Paquetville on the map far beyond our borders remains as inspired, enthusiastic and energetic as ever. Rarely seen on Montreal stages in recent years, she invites us to the Théâtre Outremont for a stroll through her repertoire, accompanied by three musicians and some pep in her step.
Ce contenu provient de Coup de cœur francophone et est adapté par PAN M 360
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