Not only were we treated to an exceptional, intimate, and deeply moving performance, but we also had a lot of laughs last night at Le Ministère, as part of the second evening of Vision Diversité’s MOZAÏK series. It felt like we were stepping into LiKouri’s bedroom (her bedside lamp was part of the set design), accompanied by Charles Cantin on vocals and guitar and Isabelle Gaudreau on clarinet.
The rapport between Li and Charles was obvious, less so with Isabelle, who didn’t have a microphone to interact with the audience like the other two. That said, her clarinet solos, or simply her musical talent, were a feast to our ears.
Lighting was also central to this intimate show as it contributed to the desired atmosphere: to discover the artists in their deepest selves.
All the songs are featured on the album Dans mon quartier, released in the fall of 2025, and it was during a 10-day residency at the Maison de la culture de Ahuntsic that all the magic happened. First between Li and Charles, then Isabelle joined later.
The first part of the concert was without accordion for LiKouri, during which we could fully appreciate her unique voice, which at times bordered on opera. Effortlessly, she managed to give us goosebumps, particularly during the song “Verde Lima,” in which she sang in Spanish, accompanied by Charles on backing vocals. Isabelle switched between clarinets, depending on the song.
Between songs, she shared a few anecdotes, often very funny, especially when she talked about the song “Statue” or when she shared the story behind the song “O’dji Comeback.” In fact, I went and found it on YouTube when I got home, as requested by the artists.
Charles’ guitar playing was also very impressive. From one song to the next, he managed to create a completely different atmosphere, adding depth to the show.
In the middle of the evening, LiKouri settles in with her accordion and together, the trio takes us elsewhere, notably on the song “La valse” which recalls old French songs, with a Piaf-like feel.
But the highlight of the evening was undoubtedly during the song “Les ou Les” where the audience happily sang along.
Another highlight of the evening was the instrumental song section. No words, just the three instruments conversing with each other, without monotony, with moments both gentle and more rhythmic, all in a completely organic way.
That said, the song that stuck in my head after the concert was “Je recommencerai pour ne rien changer”, probably because it was the last song in the setlist, but I can’t find it on the album Dans mon quartier. I’ll have to do some digging to find it. One thing is for sure: if all of MOZAÏK’s evenings are as moving as the one with LiKouri and her trio, I’ll definitely be there, because in these troubled times, a little bit of sweetness does us all a world of good.
The Creation by Haydn at the Grand Ballets: And they saw it was Good…
by Frédéric Cardin
Haydn’s The Creation is a remarkable oratorio written at the end of the composer’s life. The creation of The Creation (Die Schöpfung in German) took place in 1799. Last night, at the Place des Arts in Montreal, a very beautiful and inspiring choreographic vision, signed by Uwe Scholz (1958-2004) in 1991, was presented in an enriched version by the art of Quebec painter Jean-Paul Riopelle, a bold idea but, in the end, rewarding.
And then there was Light…
Very few stage props are required in this production. None, in fact, except for a structure supporting an armada of spotlights, used only for a few minutes at the beginning and end of the piece. Used ostentatiously, even, just a few minutes after the very beginning of the first movement, Introduction. The Representation of Chaos. Largo, the said spots were directed straight at the spectators, thus completely blinding us with the lighting. “And there was Light,” indeed, but perhaps stated a bit too strongly, let’s say. The spectators around me were laughing. That can’t be the goal, I imagine.
That said, it’s a detail that one ends up forgetting, because very beautiful moments are offered in this choreography, frequently performed all over the world because it “sounds” just right.
I will not pretend to be a dance specialist, just a humble lover of this art, particularly in relation to music. And since PanM360 aims to be a media outlet dedicated to music, I will write this review of the premiere of the ballet The Creation last night at the Wilfrid-Pelletier Hall through the relationship of the choreography to Joseph Haydn’s score.
Dance/Music symbiosis
In The Creation, Haydn constructs a narrative that is quite faithful to the mythical account of the creation of the world, in about thirty pieces that alternate between small formations and large ensembles, passages led by the soloists (a soprano, a tenor, and a bass) and impressive choral sections. Scholz respects these divisions while weaving his constructions into those of the music: solos, duets, and small ensembles adhere to the chamber passages of the music, while the choral parts, which aim to be monumental, are well supported by the entire body of the GBC.
The Creation presents the myth of Chaos giving way to Light, then to the World, to Nature, to Animals, and finally to Humans (Adam and Eve), under the impulse of God. Although the explicitness of Scholz’s conception leans more towards symbolism, one quickly understands the relationship between the gestures and the unfolding of the synopsis. At the beginning, the dancers are like “trapped” by the structure supporting the lighting equipment, and finally “freed” when it disappears.
Next, the performances follow one another, offering a sensory, impressionistic interpretation of the arrival of the various elements of divine creation. The dancers are all dressed in white, effectively bringing their movements back to the idea of original light and purity.
It is in the collective numbers that we are most touched by Scholz’s vision. The entire company moves with an almost aerial collective fluidity, in interweavings that intuitively evoke the counterpoint of Haydn’s choral fugues. Moments warmly applauded by the audience, rightly so. On the contrary, it is in the solo or duet episodes that some sluggishness is noticeable. The relationship between the visual and the musical is less apparent. An exception to note: the last pas de deux, on Holde Gattin… Der tauende Morgen (Dear wife… The morning dew), is of wonderful tenderness, and dressed in gentle sensuality.
Riopelle’s art looking over
The addition of Jean-Paul Riopelle’s paintings projected at the back of the stage is a great idea. Ivan Cavallari the Ballets’ Director), as one can guess, was inspired by the character of the various abstract works of the Quebec painter. Without obstructing or imposing on the spirit of the numbers performed by the musicians and dancers, the paintings rather subtly accompany the expressive essence of the different movements. More or less “bright” or “dark,” loaded or stripped down, the paintings from the palette of the brilliant artist offer a kind of commentary on the stage action, while subtly and diffusely guiding the emotions of those who watch. Never did we feel that the exercise was artificially imposed. This is in itself a good point.
Convincing soloists
On a purely musical level, I highlight the beautiful performance of the three soloists, Andréanne Brisson-Paquin, soprano, Philippe Gagné, tenor, and Clayton Kennedy, bass, whose projection is unfortunately diminished by the hall itself. Now accustomed (and spoilt) by the Maison symphonique just next door, one easily forgets how much Wilfrid-Pelletier is an imperfect vehicle for this kind of music. Well, we are still able to recognise the interpretative beauty of the artists in the orchestra pit. Bravo, then, even if it doesn’t yet match (for me) a certain Gundula Janowitz, with Walter Berry and Fritz Wunderlich (with Karajan on DGG).
The orchestra of the Grands Ballets is very good, but suffers from sharpness in certain string passages, especially at the beginning of the evening. Once or twice, it was even out of tune. Elsewhere, some slight rhythmic discrepancies between the choir and the orchestra were heard. But the choir itself is very nice. In terms of sound texture, a bit of thinness is noticeable when compared to the best. It must be said that this music is not the usual bread and butter of the ensemble.
Despite these technical remarks, the overall performance is pleasant and will only refine over the course of future performances.
If only for the inspiring collective numbers, but also for the fine, almost ineffable relationship between Riopelle’s paintings and the spirit of this Haydn/Scholz Creation, I urge you to dive into the experience. The Creation continues until March 1st.
Les Grands Ballets Canadiens – La Création de Joseph Haydn crédit photo : Michel Trahan – Danseur : Marcel GutierrezLes Grands Ballets Canadiens – La Création de Joseph Haydn crédit photo : Michel Trahan – Danseurs : Marcel Gutierrez et Anna IshiiLes Grands Ballets Canadiens – La Création de Joseph Haydn crédit photo : Michel Trahan
Duo Étrange dispels all doubts (if there were any)
by Frédéric Cardin
On Tuesday evening, February 24, 2026, the launch concert for the album I Wish I Were Dead by Duo Étrange was held at Montreal’s Bourgie Hall. I will not revisit the individual pieces, which I have already discussed extensively in my album review, nor the circumstances surrounding the creation of this record, which are thoroughly covered in theinterview I conducted with the two artists, soprano Vanessa Croome and cellist Sahara von Hattenberger.
I will focus my attention on the performance of the two young artists. The entire audience present noticed, I don’t think I’m mistaken in stating this, the very high quality of Vanessa Croome’s voice. A fluid, ethereal soprano but with vigour, agile and pleasantly brilliant in high notes, capable of convincing descents into mezzo areas.
But what probably impressed the music lovers present the most was the young artist’s excellent expressive performance. A remarkable ease in evoking states of mind, and an undeniable authenticity of the emotions accompanying the texts and musical lines, which are also very well mastered.
I immediately imagined her on stage, at the opera. Something she has done a few times, but not that much yet. Attention to the artistic directors of the country (and mainly of Quebec). Take notice! We’d like to keep her with us for as long as possible!!.
Sahara, a cellist to remember… and some duduk
On the cello side, Sahara von Hattenberger demonstrates a lot of character, impeccable technique, and strong emotional immersion, without any affected embellishment. A superb performer, whom we hope to keep in Montreal for a long time. Know that she now partially lives in New York due to her participation in the Chamber Orchestra of New York. I am calling out, again, to all artistic and general directors of instrumental ensembles in Montreal and beyond: recruit this dynamic voice of the cello before it’s too late!
Regarding the programming, we heard the same list as on the album, with the very beautiful pieces “Dans un sentier tout parfumé” and “Danger, peur, honte” by Fong Jeffrey. Inspired by texts from mediaeval France, they took on even more alluring forms in person, carried by the presence of Vanessa Croome.
I once again savoured the partially exotic Tree of Life by Maya Fridman, with its labyrinthine yet enchanting convolutions. And then, I indulged, just like when listening to the album, in the Quatrains of Wisdom by Airat Ichmouratov. The composer was on stage to accompany the artists with his clarinet and, above all, his fabulous duduk.
Another hit by Nicole Lizée
Nicole Lizée has once again hit the mark with her Urbexcelsis (a joint commission with Bourgie Hall), in which a partially live electronic track accompanies the two artists, who add to their “normal” task the manipulation of rudimentary percussion instruments, such as a piece of pipe, a chain in a metal bucket, and a power drill! I would recommend revising the drill’s score because it was hardly heard, often not at all. Nevertheless, the atmosphere of the abandoned and ruined cyberpunk city was fascinating and very well done.
The premise of Duo Étrange’s album concept is to say that contemporary music creations deserve to be heard more than once. Let’s hope their commissions will. But one thing is certain : we want to hear this duo very often again. And we will! Look down for upcoming concerts :
Sahara von Hattenberger
April 22nd, 2026
RECITAL W/ DAVID BRONGO: A NIGHT OF CELLO AND PERCUSSION
At the museum of Architecture in Montreal, QC. Part of the series previously held at the beloved Chapelle Historique du Bon-Pasteur.
Featuring Works primarily for cello and timpani by Perruchon, and more.
Duo Étrange
April 30th, 2026
Duo Etrange presents Ligeti’s Mysteries of the Macabre arr. for cello and percussionist soprano at Espace bleu in Montreal, QC.
Le Vivier / Semaine du Neuf : Nadar – Hide to Show / Les mots de la direction artistique
by Rédaction PAN M 360
Serait-ce ZE must de cette Semaine du Neuf ? Chose sûre, Jeffrey Stonehouse, directeur artistique du Vivier, ne tarit pas d’éloges à l’endroit de Hide to Show, de Michael Beil qu’exécutera l’ensemble flamand Nadar
“C’est un bijou, c’est un must ! Je ne veux pas vendre tous les punchs parce qu’il faut… Mais c’est une expérience à ne pas manquer. On voit des musiciens qui se préparent pour une performance publique. Ils jouent quelques notes, ils changent de vêtements, parfois ils dansent. Ils se préparent en écoutant de la musique avec des casques d’écoute. Et ces mouvements deviennent en fait un matériau musical pour la suite qui s’annonce très intéressante. Ce programme a été conçu par Michael Beil et qui confère à l’ensemble belge Nadar un rôle qui est à la fois musicien de très haut niveau et aussi acteur. Alors la théâtralité de cette proposition est très, très, très forte ! En tout cas, ce spectacle m’a marqué. Je l’ai vu à Strasbourg une première fois il y a deux ans, je m’étais dit que le public de Montréal devait absolument assister à ce show. “
Lisez les notes de programmes qui fournissent d’autres précisions:
Hide to show parle de la solitude, mais aussi de la synchronisation avec les autres sans les voir; d’être observé·e, de choisir de se rendre visible ou non, et de se remplacer soi-même de multiples façons. Les projecteurs se tournent vers les coulisses, tandis que les musicien·nes se préparent pour la performance devant le public, chacun·e seul·e dans sa petite pièce privée. Ils jouent quelques notes, changent de vêtements ou dansent sur la musique qu’ils écoutent au casque. Ce ne sont pas seulement les mouvements des musicien·nes sur scène qui sont considérés comme du matériau musical : la liste des ingrédients artistiques de Beil inclut désormais leurs actions dans l’intimité des coulisses. Mais tout ne nous est pas donné à voir. Les musicien·nes se dissimulent derrière leurs costumes, des rideaux qui montent et descendent, ou encore des enregistrements d’eux-mêmes, si bien que la véritable personne demeure finalement invisible. Le parallèle avec les réseaux sociaux s’impose rapidement. Hide to show explore l’hyperréalité, la manière dont nous superposons des couches virtuelles à nos vies, dont nous copions et collons dans ce que nous appelons notre réalité.
Could this be THE must-see event of this Week of New Works? One thing is certain: Jeffrey Stonehouse, artistic director of Le Vivier, is full of praise:
“It’s a gem, it’s a must-see! I don’t want to give away all the surprises because you have to… But it’s an experience not to be missed. You see musicians preparing for a public performance. They play a few notes, they change clothes, sometimes they dance. They prepare themselves by listening to music with headphones. And these movements actually become musical material for what follows, which promises to be very interesting. This program was conceived by Michael Beil and gives the Belgian ensemble Nadar a role that is both highly skilled musicians and actors. So the theatricality of this proposal is very, very, very strong! In any case, this show made a big impression on me. I saw it for the first time in Strasbourg two years ago, and I thought to myself that the Montreal audience absolutely had to see this show. “
Read the program notes for further details:
Hide to show speaks about solitude, but also about synchronizing with others without seeing them; about being observed, choosing to make oneself visible or not, and replacing oneself in multiple ways. The spotlights turn towards the backstage, while the musicians prepare for the performance in front of the audience, each alone in their small private room. They play a few notes, change clothes, or dance to the music they’re listening to on headphones. It’s not only the musicians’ movements on stage that are considered musical material: Beil’s list of artistic ingredients now includes their actions in the privacy of backstage. But not everything is revealed to us. The musicians conceal themselves behind their costumes, curtains that rise and fall, or even recordings of themselves, so that the real person ultimately remains invisible. The parallel with social media quickly becomes apparent. Hide to show explores hyperreality, the way we superimpose virtual layers on our lives, the way we copy and paste into what we call our reality. +
Le Vivier / Semaine du Neuf | Proxima Centauri – MOUVEMENTS / Les mots de la direction artistique
by Rédaction PAN M 360
MOUVEMENTS, si l’on s’en tient aux notes de programme, crée un espace de dialogue entre les textures sonores apportées par l’électronique et l’interprétation dans l’instant de l’instrumentiste. La présence sensible de l’artiste face à l’ubiquité du son multidiffusé flottant autour de l’auditeur, offre de multiples formes de dialogue, de juxtaposition ou de conflit. L’instrumentiste se confronte ou s’associe au son jusqu’à donner à la musique électroacoustique un aspect visible. La coexistence des deux mondes sonores permet à l’auditeur-spectateur d’être au cœur du discours musical et de sa poésie.
Directeur artistique du Vivier, Jeffrey Stonehouse nous en dit davantage:
“Proxima Centauri est un ensemble de Bordeaux dont l’instrumentation est la suivante: saxophone, flûte, piano, percussion, électronique. Présenté à la Semaine du Neuf, ce programme explore le mouvement, mais aussi crée DEAD TALES, spurred, une œuvre de Corie Rose Soumah qui était une commande du Vivier. Ici, on peut imaginer la juxtaposition de différentes formes de dialogues au sein desquels plusieurs conflits peuvent surgir. L’instrumentiste se confronte ou s’associe au jeu et procure aussi une visibilité à la musique électroacoustique. De plus, ces dialogues peuvent déclencher des images en temps réel, on se retrouve donc dans la cohabitation de deux mondes. Il faut remarquer qu’il y a de plus en plus de créateurs et de créatrices en musique qui travaillent avec la vidéo.”
Corie Rose Soumah: DEAD TALES, spurred , 2026 (10′) pour flûte, saxophone, piano, percussion et électronique (Commande du Vivier pour Proxima Centauri) – création
Brendan Champeaux: Away , 2026 (10′) pour piano, percussion et électronique (Commande de Proxima Centauri avec l’aide à l’écriture d’œuvre musicale originale du ministère de la Culture) – création
Demian Rudel Rey: Nemorensis , 2026 (12′) pour saxophone ténor, électronique et vidéo (Commande pour Proxima Centauri) – création
Raphaèle Biston: Ombres (10’) pour flûte, saxophone, piano, percussion et électronique – création canadienne)
Arturo Fuentes: La Cité du son (12’), pour flûte, saxophone, piano, percussion et électronique – création canadienne (Commande de Proxima Centauri)
MOUVEMENTS, according to the official program, is a musical performance that creates a space for dialogue between the sonic textures brought by electronics and the live interpretation of the instrumentalist. The sensitive presence of the artist in the face of the ubiquity of spatially diffused sound floating around the listener offers multiple forms of dialogue, juxtaposition, or conflict. The instrumentalist confronts or associates with the sound to the point of giving electroacoustic music a visible aspect. The coexistence of the two sonic worlds allows the listener-spectator to be at the heart of the musical discourse and its poetry.
Artistic Director of Le Vivier, Jeffrey Stonehouse tells us more:
“Proxima Centauri is a Bordeaux-based ensemble whose instrumentation includes saxophone, flute, piano, percussion, and electronics. Presented at Semaine du Neuf, this program explores movement, but also premieres DEAD TALES, spurred, a work by Corie Rose Soumah that was commissioned by Le Vivier. Here, we can imagine the juxtaposition of different forms of dialogue in which several conflicts may arise. The instrumentalist confronts or associates with the performance and also provides visibility to electroacoustic music. In addition, these dialogues can trigger images in real time, so we find ourselves in the coexistence of two worlds. It should be noted that there are more and more music creators working with video.”
Program
Corie Rose Soumah: DEAD TALES, spurned , 2026 (commissionned by Le Vivier for Proxima Centauri) – premiere
Brendan Champeaux: Ciphers , 2026 (commissionned by the State for Proxima Centauri) – premiere
Le Vivier / Semaine du Neuf : Architek Percussion & Contrechamps – Kino-sonique / Les mots de la direction artistique
by Rédaction PAN M 360
Créations croisées suisses et canadiennes, entre technologies détournées, avatars numériques et objets du quotidien, ce triptyque de concerts explore les multiples visages du son contemporain. De Suisse, Daniel Zea propose une performance pour reconnaissance faciale où l’avatar numérique révèle les tensions entre expression humaine et algorithme. De Montréal, Nicole Lizée fait revivre les machines du passé dans une création quadriphonique où le glitch devient matière poétique. Enfin, de Suisse, Alexandre Babel renverse les hiérarchies sonores en sculptant la beauté brute de sons “pauvres”, issus d’objets trouvés et de gestes simples.
À ce titre, PAN M 360 a recueilli les propos de son directeur artistique, Jeffrey Stonehouse, qui a été témoin d’un portion du travail helvète en septembre dernier”
” En fait, je suis allé en Suisse pour la création de l’œuvre du compositeur suisse Alexandre Babel. Ça, c’était une co-commande du Vivier et de l’ensemble Contrechamps, mais écrite pour Architek Percussion qui est est allé jouer à Genève en septembre dernier. Le programme comprend donc cette œuvre mais aussi une nouvelle œuvre de Nicole Lizée pouf ensemble instrumental, vidéo et électronique. L’autre œuvre au programme, soit du compositeur Daniel Zea, ‘est une commande de l’ensemble Contrechamp avec les Art Zoyd Studios. Daniel Zea a conçu une sorte de partition pour visage et reconnaissance faciale. Tout ça se passe en direct, donc les mouvements du visage de l’avatar déclenchent et contrôlent la partie.”
Plus précisément, le programme indique:
Trois œuvres qui, chacune à leur manière, interrogent notre rapport à la technologie, à la mémoire et à l’imperfection — et redéfinissent la frontière entre humain, machine et matière. Fascinée par les technologies obsolètes, Nicole Lizée explore le dysfonctionnement et l’esthétique de l’imperfection pour “aller sous la surface des choses”. Elle intègre dans ses œuvres des instruments atypiques — Atari 2600, omnichords, stylophones, jeux Simon™ ou bandes de karaoké — ainsi qu’un dispositif vidéo et une quadriphonie dans sa nouvelle création pour Contrechamps.
Daniel Zea met en scène le contraste entre un visage analysé par ordinateur et son avatar numérique. Grâce à une partition pour visage et reconnaissance faciale, ses mouvements animent l’avatar et déclenchent l’électronique, tandis que les instrumentistes réagissent en complément ou en contraste, soulignant la tension entre digital et acoustique. Commandée pour Architek Percussion, The brown gardener réunit quatre percussionnistes jouant sur des plaques-cloches en matériaux simples. Les motifs rythmiques superposés créent un contrepoint en évolution continue. Le titre évoque un oiseau indonésien qui compose des assemblages d’objets, rappelant le soin apporté au choix des instruments.
Programmation
-Daniel Zea: AUTORRETRATO EXTENDIDO , 2026 (40’ – Commande de l’Ensemble Contrechamps, en partenariat avec Art Zoyd Studios) pour ensemble instrumental, vidéo et tracking facial – création -Nicole Lizée: Nouvelle oeuvre , 2026 (17′) pour ensemble instrumental, vidéo et électronique – création -Alexandre Babel: The brown gardener , 2025 (15′ – Co-commande Contrechamps / Le Vivier pour Architek Percussion) pour quatuor de percussions – création
Program
-Daniel Zea: AUTORRETRATO EXTENDIDO , 2026 (40’ – Commande de l’Ensemble Contrechamps, en partenariat avec Art Zoyd Studios) for ensemble instrumental, vidéo et tracking facial – premiere -Nicole Lizée: New work for ensemble, video and electronics , 2026 – premiere -Alexandre Babel: The brown gardener , 2025 (15′ – Co-commande Contrechamps / Le Vivier pour Architek Percussion) for quatuor de percussions – premiere
A collaboration between Switzerland and Canada, combining repurposed technologies, digital avatars, and everyday objects, this trio of concerts explores the many faces of contemporary sound. From Switzerland, Daniel Zea presents a performance for facial recognition in which a digital avatar reveals the tensions between human expression and algorithms. From Montreal, Nicole Lizée brings the machines of the past back to life in a quadraphonic creation where glitches become poetic material. Finally, from Switzerland, Alexandre Babel overturns sound hierarchies by sculpting the raw beauty of “poor” sounds, derived from found objects and simple gestures.
As such, PAN M 360 gathered comments from its artistic director, Jeffrey Stonehouse, who witnessed part of the Swiss work last September. “In fact, I went to Switzerland for the premiere of Swiss composer Alexandre Babel’s work. It was a co-commission by Le Vivier and the Contrechamps ensemble, but written for Architek Percussion, who went to play in Geneva last September. The program includes this work as well as a new work by Nicole Lizée for instrumental ensemble, video, and electronics. The other work on the program, by composer Daniel Zea, was commissioned by the Contrechamp ensemble and Art Zoyd Studios. Daniel Zea designed a kind of score for the face and facial recognition. It all happens live, so the avatar’s facial movements trigger and control the part.” More specifically, the program states: Three works that, each in their own way, question our relationship to technology, memory, and imperfection—and redefine the boundary between human, machine, and matter. Fascinated by obsolete technologies, Nicole Lizée explores dysfunction and the aesthetics of imperfection to “go beneath the surface of things.” She incorporates atypical instruments into her works—Atari 2600, omnichords, stylophones, Simon™ games, and karaoke tapes—as well as a video device and quadraphonic sound in her new creation for Contrechamps.
Daniel Zea has designed a kind of score for faces and facial recognition. It all happens live, so the avatar’s facial movements trigger and control the piece. More specifically, the program states: Three works that, each in their own way, question our relationship with technology, memory, and imperfection—and redefine the boundary between human, machine, and matter. Fascinated by obsolete technologies, Nicole Lizée explores dysfunction and the aesthetics of imperfection to “go beneath the surface of things.” She incorporates atypical instruments into her works—Atari 2600, omnichords, stylophones, Simon™ games, and karaoke tapes—as well as a video device and quadraphonic sound in her new creation for Contrechamps. Daniel Zea stages the contrast between a computer-analyzed face and its digital avatar. Thanks to a score for face and facial recognition, his movements animate the avatar and trigger the electronics, while the instrumentalists react in complement or contrast, highlighting the tension between digital and acoustic. Commissioned for Architek Percussion, The brown gardener brings together four percussionists playing on bell plates made of simple materials. The overlapping rhythmic patterns create a constantly evolving counterpoint. The title evokes an Indonesian bird that composes assemblages of objects, recalling the care taken in the choice of instruments.
Ce contenu provient de Le Vivier et est adapté par PAN M 360
Le Vivier / Semaine du Neuf | Stick & Bow + Paramirabo + LiSiLoG – Canta lo invisible / Les mots de la direction artistique
by Rédaction PAN M 360
Issu de la rencontre d’artistes de Stick&Bow, Paramirabo, LiSiLoG et du compositeur Philippe Macnab-Séguin, Canta lo invisible, sous la direction artistique de Krystina Marcoux, explore la relation intime entre geste, son et lumière, à la croisée de la musique contemporaine, de l’improvisation et de l’art numérique. Au cœur du projet se trouve l’IMSS (Interactive Motion Sound System), une technologie novatrice conçue par Christophe Lebreton (LiSiLoG), qui transforme le mouvement en son sans capteurs corporels, ouvrant un nouvel espace d’expression entre corps et matière sonore. Entre rigueur et lâcher-prise, Canta lo invisible questionne le rapport au corps, à l’instrument et à la création collective, où l’improvisation devient moteur d’écriture. Création mondiale dans le cadre de La Semaine du Neuf.
Directeur artistique du Vivier, Jeffrey Stonehouse nous en dit davantage:
“Tout ça sous la direction artistique de Krystina Marcoux, qui est la percussionniste de Paramirabol. Ne passe-t-elle pas inaperçue ? Effectivement, on ne peut pas la manquer lorsqu’elle monte sur scène. Qui plus est, elle a exploré le théâtre musical dans ses études de doctorat. Avec Christophe Le Breton de LiSiLoG, elle se penche sur la relation intime entre le geste, le son et la lumière. Tout ça aux frontières de la musique contemporaine instrumentale, mais aussi de la musique improvisée et de l’art numérique.
“Ici, le dispositif utilisé se nomme l’IMSS ou Interactive Motion Sound System. Il s’agit d’une une technologie qui a été conçue par Christophe Le Breton et qui transforme le mouvement en son. Très simplement. Plus précisément, les musiciens jouent de leurs instruments, le son produit est alors modulé par leur mouvement et les zones qu’ils traversent sur scène.
Ce projet a aussi été développé au Banff Centre for the Arts. Oui, il y a quand même plusieurs entités là-dedans. Il y a Paramirabo, il y a Stick & Bow et d’autres entités intervenantes. Nous avons déjà travaillé en résidence à l’édifice Wilder en compagnie de Christophe Le Breton pour explorer le dispositif, suivi d’un dialogue avec Philippe Macnab-Séguin afin qu’il compose des compléments et structure les improvisations à venir sur scène.”
Canta lo invisible – making the invisible visible Born from the meeting of artists from Stick&Bow, Paramirabo, LiSiLoG and composer Philippe Macnab-Séguin, Canta lo invisible, under the artistic direction of Krystina Marcoux, explores the intimate relationship between gesture, sound, and light, at the crossroads of contemporary music, improvisation, and digital art. At the heart of the project is the IMSS (Interactive Motion Sound System), an innovative technology designed by Christophe Lebreton (LiSiLoG), which transforms movement into sound without body sensors, opening a new space of expression between body and sonic matter. Between rigor and letting go, Canta lo invisible questions the relationship to the body, to the instrument, and to collective creation, where improvisation becomes the driving force of composition. World premiere as part of La Semaine du Neuf.
Artistic director of Le Vivier, Jeffrey Stonehouse tells us more:
“All this under the artistic direction of Krystina Marcoux, who is the percussionist for Paramirabol. Doesn’t she stand out? Indeed, you can’t miss her when she takes the stage. What’s more, she explored musical theater in her doctoral studies. With Christophe Le Breton of LiSiLoG, she explores the intimate relationship between gesture, sound, and light. All this at the frontiers of contemporary instrumental music, but also improvised music and digital art.
“Here, the device used is called the IMSS or Interactive Motion Sound System. It is a technology designed by Christophe Le Breton that transforms movement into sound. Quite simply. More specifically, the musicians play their instruments, and the sound produced is then modulated by their movement and the areas they cross on stage.
This project was also developed at the Banff Centre for the Arts. Yes, there are several entities involved. There’s Paramirabo, Stick & Bow, and other participating entities. We have already worked in residence at the Wilder Building with Christophe Le Breton to explore the device, followed by a dialogue with Philippe Macnab-Séguin so that he could compose additions and structure the improvisations to come on stage.”
Program
Collective creation: Speak No Words – Le silence des mots , 2026 for ensemble and Interactive Motion Sound System (iMSS) – premiere
Le Vivier / Semaine du Neuf | Ensemble Éclat – Broken Spaces / Les mots de la direction artistique
by Rédaction PAN M 360
Broken Spaces est un concert immersif et ininterrompu qui explore l’espace sonore et visuel sous toutes ses formes, en alliant musique électronique et musique mixte, avec des visuels numériques créés par Myriam Bleau. Une expérience sensorielle intense où se croisent de multiples esthétiques dans un dispositif scénique novateur.
Directeur artistique du Vivier, Jeffrey Stonehouse nous présente sommairement le projet:
“Éclat est un nouvel ensemble qu’on aime bien, et le projet ici présenté a été soutenu par le Pôle Relève et a aussi été développé en partenariat avec l’IRCAM. Donc, l’ensemble Éclats a été en résidence à l’IRCAM à Paris en octobre dernier pour travailler sur ce projet-ci, qui jumelle des oeuvres de Jérôme Combier, des oeuvres, une oeuvre acousmatique d’Audréanne Fillion, des oeuvres mixtes de Jérôme Combier,Quentin Lauvray et Omer Barash, et aussi une oeuvre acousmatique de Philippe Macnab-Séguin. Les visuels numériques sont créés par Myriam Bleau, ce qui crée une expérience sensorielle super intense. On y croise plusieurs esthétiques d’une façon novatrice. “
Programme
-Jérôme Combier: Gone , 2010 pour pour trio à cordes, clarinette, piano et électroniques -Audréanne Filion: Interpolation , 2022 – 2025 pour pour sons fixés – création -Quentin Lauvray: Ephphata , 2025 pour pour violon et électronique – création -Philippe Macnab-Séguin: Gone for Eggs (extrait) , 2024 pour pour sons fixés -Omer Barash: Nouvelle oeuvre , 2025 pour pour trio à cordes, clarinette, piano et électroniques – création
Publicité panam
Broken Spaces is an immersive and uninterrupted concert that explores sonic and visual space in all its forms, combining electronic music and mixed music, with digital visuals created by Myriam Bleau. An intense sensory experience where multiple aesthetics intersect in an innovative stage setup.
Artistic director of Le Vivier, Jeffrey Stonehouse gives us a brief overview of the project:
“Éclat is a new ensemble that we really like, and the project presented here was supported by Pôle Relève and developed in partnership with IRCAM. So, the Éclats ensemble was in residence at IRCAM in Paris last October to work on this project, which combines works by Jérôme Combier, works, an acousmatic work by Audréanne Fillion, mixed works by Jérôme Combier, Quentin Lauvray, and Omer Barash, and also an acousmatic work by Philippe Macnab-Séguin. The digital visuals are created by Myriam Bleau, creating a super intense sensory experience. Several aesthetics come together in an innovative way.”
Program
-Jérôme Combier: Gone , 2010 for for string trio, clarinet, piano and electronics -Audréanne Filion: Interpolation , 2022 – 2025 for for fixed sounds – premiere -Quentin Lauvray: Ephphata , 2025 for for violin and electronics – premiere -Philippe Macnab-Séguin: Gone for Eggs (extrait) , 2024 for for fixed sounds -Omer Barash: New work , 2025 for for string trio, clarinet, piano and electronics – premiere
Le Vivier / Semaine du Neuf | Alexandra Templier — Chant 2 : Le Murmure Du Vivant / Les mots de la direction artistique
by Rédaction PAN M 360
Expérience immersive, musique improvisée (voix et électroacoustique), danse, arts visuels Le Murmure du Vivant est un écosystème pluridisciplinaire où le son, le mouvement et le visuel se tissent de façon organique pour convier le public à une expérience transformative: écouter autrement pour penser autrement.
Directeur artistique du Vivier, Jeffrey Stonehouse défend ici brièment ce choix de programmation:
“Une très belle proposition d’Alexandra Templier ici ! Alexandra qui fait partie du pôle relève du Vivier, donc notre pôle de mentorat artistique. Sa proposition est en fait, une rencontre entre un genre de scénographie vivante et une interprétation en temps réel. Ce que je veux dire ici, c’est que l’élément de scénographie joue un rôle super central à la proposition d’Alexandra. Elle explore presque, je trouve, des zones de ASMR ! Donc, tous les sons sont super subtils. Par exemple, des verres qui sont juste légèrement bougés sur le sol. Mais tout ça aussiavec des interprètes en temps réel. Donc, c’est comme une espèce d’installation vivante, mais avec une proximité d’écoute très intéressante et très intime.”
Immersive experience, improvised music (voice and electroacoustic), dance, visual arts Le Murmure du Vivant is a multidisciplinary ecosystem where sound, movement, and visual elements are woven together organically, inviting the audience into a transformative experience: listening differently to think differently.
Artistic Director of Le Vivier, Jeffrey Stonehouse briefly defends this programming choice here:
“A very beautiful proposal from Alexandra Templier here! Alexandra is part of the Vivier’s next generation program, which is our artistic mentoring program. Her proposal is actually a combination of a kind of living scenography and real-time interpretation. What I mean here is that the scenography element plays a central role in Alexandra’s proposal. I think she’s almost exploring areas of ASMR! So all the sounds are very subtle. For example, glasses being moved slightly on the floor. But all this is also done with performers in real time. So it’s like a kind of living installation, but with a very interesting and intimate listening experience.”
MHN | Senny and Zal, A Bond That Only Art Can Create
by Sandra Gasana
They had never met before this first trip to Montreal. Yet, during Friday night’s musical dialogue in the kora language, Senny Camara and Zal Sissokho seemed to have known each other for years. This rapport, tinged with respect—Senny used the term “Master” when addressing Zal—demonstrated the mutual admiration between the two artists. They exchanged smiles from time to time, whispering words in Wolof between songs, like a father advising his daughter.
Despite the snowstorm outside, time seemed to stand still inside Club Balattou, creating a feeling of floating. This contrast made us savor the present moment even more, knowing what awaited us outside.
Let’s start with their outfits: Zal, all in white, with his signature black hat; Senny, also all in white, wearing an outfit from her mother’s home region, with touches of green. Even her chair matched her outfit. Absolutely stunning!
The two musicians interacted with their audience, sometimes playing the role of journalist when they asked each other questions. Senny took the opportunity to share her connection with the calabash even before she took up the kora. It was therefore predestined!
“The first part will be more traditional, we will go to the Mandinka Empire,” Zal informs us, while several of his students were in the room.
And then, in the following song, we discover Senny’s piercing and powerful voice, her smile lighting up the room. She sings mainly in Wolof, with occasional passages in English, and places humanity at the heart of the themes she explores in her songs. Sometimes Zal accompanies her on vocals, sometimes he simply plays his kora, plucking the strings in a unique way that only he knows how.
Between songs, they tune their instrument. “My kora is cold,” Senny jokes. Indeed, this is the kora virtuoso’s first time in Montreal, and she will take the opportunity to play several other dates across the country with Zal.
They alternate, sometimes Zal plays a piece from his repertoire and then it’s Senny’s turn to pick from her own, notably playing several pieces from her most recent album Yéné, released in 2024.
“Everything that is happening in the world right now, we had warnings before but we didn’t pay attention,” she said, introducing Missal, also in Yéné album.
Zal, in turn, shared with us a song in which he pays tribute to his father who has passed away, telling us anecdotes from his many stays in Senegal and the precious time he spent with him.
Together, they managed to get the room singing along to the song Yéné, before finishing with Niit, which means Human in Wolof.
And the cherry on top of the Sundae was the participation of the musician Lasso Sanou who came to close the evening with his flute, in the middle of the two koras.
That’s how we returned home in the storm, but with our hearts full of warmth.
SMCQ : Carte blanche à la relève à la salle Pierre-Mercure
by Rédaction PAN M 360
Dans le cadre du 60e anniversaire de la SMCQ, Ensemble Éclat présente six créations mondiales où musique, poésie et lumières se rencontrent pour célébrer la relève montréalaise. Un concert mis en scène avec Geneviève Ackerman sur des textes originaux du poète Frédérik Dufour. Œuvres originales de Olivier St-Pierre, Lily Koslow, Louis-Michel Tougas, Xue Han, Jeffrey Fong et Geneviève Ackerman mettant de l’avant le Quatuor Mémoire et la soprano Elisabeth Boudreault.
As part of the SMCQ’s 60th-anniversary celebrations, Ensemble Éclat presents six world premieres where music, poetry, and light come together to celebrate emerging Montréal talent. A staged concert created in collaboration with Geneviève Ackerman, set to original texts by poet Frédérik Dufour. Original works by Olivier St-Pierre, Lily Koslow, Louis-Michel Tougas, Xue Han, Jeffrey Fong, and Geneviève Ackerman, featuring Quatuor Mémoire and soprano Elisabeth Boudreault.
Programmation
Poème 1 — récitation Midway to the Moon (2021, 26), 8:00 Xue Han flûte, clarinette, percussions, piano, violon et violoncelle Création Poème 2 — récitation [titre à déterminer], 12:00 Louis-Michel Tougas voix, flûte, clarinette, percussions, piano, harpe, violon, violoncelle et basse électrique Création Poème 3 — récitation Ave verum corpus (2026), 8:00 Geneviève Ackerman percussions, violon, alto, violoncelle et contrebasse Création Poème 4 — récitation everything waiting for midnight (2026), 10:00 Lily Koslow voix, flûte, hautbois, clarinette, percussions, piano, violon, alto, violoncelle, contrebasse et instrument électronique Création Poème 5 — récitation [titre à déterminer], 10:00 Jeffrey Fong flûte, clarinette, harpe, piano, violon, alto, violoncelle et contrebasse Création Poème 6 — récitation Figurae (2026), 15:00 Olivier St-Pierre quatuor à cordes, flûte, hautbois, clarinette, percussions, harpe, piano, violon, alto et contrebasse Création
Program
Poem 1 — recitation Midway to the Moon (2021, 26), 8:00 Xue Han flute, clarinet, percussion, piano, violin and cello Premiere Poem 2 — recitation [title to be determined], 12:00 Louis-Michel Tougas voice, flute, clarinet, percussion, piano, harp, violin, cello and electric bass Premiere Poem 3 — recitation Ave verum corpus (2026), 8:00 Geneviève Ackerman percussion, violin, viola, cello and double bass Premiere Poem 4 — recitation everything waiting for midnight (2026), 10:00 Lily Koslow voice, flute, oboe, clarinet, percussion, piano, violin, viola, cello, double bass and electronic instrument Premiere Poem 5 — recitation [title to be determined], 10:00 Jeffrey Fong flute, clarinet, harp, piano, violin, viola, cello and double bass Premiere Poem 6 — recitation Figurae (2026), 15:00 Olivier St-Pierre string quartet, flute, oboe, clarinet, percussion, harp, piano, violin, viola and double bass Premiere
Aline Kutan, André Moisan & Michael McMahon à la salle Bourgie
by Rédaction PAN M 360
La soprano Aline Kutan et le pianiste Michael McMahon présentent un choix de lieder inspirés par les femmes ainsi que par les beautés de la nature et du printemps. Ils seront accompagnés du clarinettiste de l’Orchestre symphonique de Montréal André Moisan dans Le pâtre sur le rocher, D. 965, un des derniers chefs-d’œuvre de Schubert, écrit un mois avant sa mort.
Soprano Aline Kutan and pianist Michael McMahon present Schubert lieder inspired by women and by the beauties of nature and springtime. Orchestre symphonique de Montréal clarinetist André Moisan joins the duo for Schubert’s late masterpiece “The shepherd on the cliff,” D. 965, composed just one month before the composer’s death.
Programme
SCHUBERT An die Nachtigall [Au rossignol], D. 196 et D. 497 Gott im Frühlinge [Dieu au printemps], D. 448 An den Frühling [Au printemps], D. 245 Der Schmetterling [Le papillon], D. 633 An die Natur [À la nature], D. 372 Lilla an die Morgenröte [Lilla à l’aube], D. 273 Das Mädchen [La jeune fille], D. 652 Lied der Anne Lyle [Chant d’Anne Lyle], D. 830 Die Liebe [L’amour], D. 210 Romanze: Ich schleiche bang [Je me glisse inquiet], D. 787 no 2 Nähe des Geliebten [Proximité du bien‑aimé], D. 162 Kolmas Klage [La plainte de Colma], D. 217 Alles um Liebe [Tout pour l’amour], D. 241 Auf den Tod einer Nachtigall [Sur la mort d’un rossignol], D. 399 Das Sehnen [Le désir], D. 231 Blanka, D. 631 Liebe schwärmt auf allen Wegen [L’amour voltige sur tous les chemins], D. 239 no 6 Der Hirt auf dem Felsen [Le berger sur le rocher], D. 965
Program
SCHUBERT An die Nachtigall [To the nightingale], D. 196 and D. 497 Gott im Frühlinge [God in spring], D. 448 An den Frühling [To spring], D. 245 Der Schmetterling [The butterfly], D. 633 An die Natur [To nature], D. 372 Lilla am Morgenröthe [Lilla to the red light of dawn], D. 273 Das Mädchen [The maiden], D. 652 Lied der Anne Lyle [Anne Lyle’s song], D. 830 Die Liebe [Love], D. 210 Romanze: Ich schleiche bang [Romance: I wander], D. 787 No. 2 Nähe des Geliebte [Near the beloved], D. 162 Kolmas Klage [Colma’s lament], D. 217 Alles um Liebe [All for love], D. 241 Auf den Tod einer Nachtigall [On the death of a nightingale], D. 399 Das Sehnen [Longing], D. 231 Blanka, D. 631 Liebe schwärmt auf allen Wegen [Love roams wild], D. 239 No. 6 Der Hirt auf dem Felsen [The shepherd on the cliff], D. 965
