Montréal

Jazz / musique de jeux vidéo

Ocarina of Jazz – Symphonie inspirée de Zelda Ocarina of Time à la Cinquième Salle

by Rédaction PAN M 360

Et si la légende d’Hyrule se jouait en jazz? Jazz’n Geek présente OCARINA OF JAZZ, une suite jazz inspirée de The Legend of Zelda: Ocarina of Time. Sous la direction de Lex French, big band et orchestre unissent leurs forces pour faire revivre les thèmes cultes du jeu, dans des arrangements originaux et exclusifs signés par notre directeur artistique, Alexandre Choinière. De la quiétude de la Forêt Kokiri aux grands galops d’Epona sur la Plaine d’Hyrule, du recueillement du Temple du Temps au duel final contre Ganondorf, laissez l’ocarina vous guider à travers les âges. Au fil de la soirée, suivez le Héros du Temps grandir d’un monde à l’autre, de l’enfance perdue au combat qui décidera du sort d’Hyrule. Unique au Canada, le concept d’orchestre mi-jazz, mi-symphonique se spécialisant en musique de jeux vidéo saura vous immerger simultanément dans la chaleur réconfortante du jazz, la beauté grandiose des symphonies et la nostalgie poignante de vos univers vidéo-ludiques favoris.

Jazz’n Geek presents OCARINA OF JAZZ, a jazz suite inspired by The Legend of Zelda: Ocarina of Time. Under the direction of Lex French, big band and orchestra join forces to bring the game’s iconic themes back to life, in original and exclusive arrangements crafted by our artistic director, Alexandre Choinière. From the stillness of the Kokiri Forest to Epona’s sweeping gallops across Hyrule Field, from the solemnity of the Temple of Time to the final duel against Ganondorf, let the ocarina guide you across the ages. Over the course of the evening, follow the Hero of Time as he comes of age from one world to the next, from a lost childhood to the battle that will decide the fate of Hyrule. Unique in Canada, the concept of a part-jazz, part-symphony ensemble specializing in video game music will simultaneously immerse you in the comforting warmth of jazz, the grandiose beauty of symphonies and the moving nostalgia of your favourite fantasy worlds.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de Place des Arts et est adapté par PAN M 360

Classical / Contemporary

SQMC/Chapelle Historique du Bon Pasteur: Discovering Quebec’s contemporary music

by Pietro Freiburger

On October 21st, at the Canadian Center of Architecture, the Chapelle Historique’s programming proposed a concert by the SQMC with a wide variety of contemporary music by Quebec’s composers, performed by the two aces Philippe Prud’homme and Louise Bessette.

The first positive note of the concert is the introduction to each piece, enriched by the presence of some of the composers in the audience. The concert begins with the Suite pour piano by Jean Papineau-Couture, a great name of Quebec’s music. The piece, with clear neoclassical features, and with sounds à la Hindemith, passes easily from serene to tense, in a beautiful range of emotions and atmospheres that follow one another in a pleasant way. This piece highlights the virtuosity of Prud’homme and his ability to create refined sounds. It continues with Six Preludes by Francis Battah, a young composer already established on the Canadian scene. These pieces demonstrate an original aesthetic, sometimes jazzy sometimes restless. There is something Debussian in Battah’s work, which treats the piano with great attention to sound and timbre, in short, to the expressive possibilities of the instrument, and Prud’homme interprets all this with class. The creation of the evening is Latence by Alexandre David: a piece that is a seamless musical exploration and that embodies the idea of the title very well. This is followed by Intérieur, jour by Nicolas Gilbert, who describes his piece as intimité retrouvée. The piece, written in 2020 during COVID-19, transports the audience into a lunar, suspended atmosphere, sometimes interrupted by ornamental moments of baroque reminiscence. All performed with great lucidity by Louise Bessette, an icon of contemporary Quebec pianism. In Fragments by Serge Arcuri, the resonance of the harmonics of the bells runs through the whole piece, also masterfully performed by the artist. The evening closes with Les planètes by Walter Boudreau, containing various pieces rich in register contrasts and lively in rhythm, which return the image of a constellation of planets. A special mention to the two performers, who have been able to take the audience on a long journey through the music of our time with intellectual honesty and artistic dedication.

photo : Pietro Freiburger

classique / période moderne

OSM : Autour de Stravinsky

by Rédaction PAN M 360

Traversé par les mythes qui le nourrissent, ce programme irradie d’une énergie solaire. L’Oiseau de feu déploie ses ailes légendaires, figure flamboyante de renaissance et d’enchantement, dans une fresque où Stravinsky allume un brasier orchestral. Samy Moussa, avec Elysium, convoque la mythologie gréco-romaine afin de mieux questionner la beauté de la vie, sa fragilité, sa valeur éthique. Au centre du triptyque, Leonidas Kavakos s’empare du Concerto n° 2 de Prokofiev dont il révèle le lyrisme profond, la noblesse blessée, la poésie rythmique intime. Une soirée sous le signe des puissances imaginaires et des forces vitales qui éclairent notre monde intérieur.

Steeped in the myths that inspire it, this program radiates solar energy. The Firebird spreads its legendary wings—a blazing figure of rebirth and enchantment—in a sweeping orchestral fresco ignited by Stravinsky. With Elysium, Samy Moussa invokes Greco-Roman mythology to explore life’s beauty, fragility, and ethical meaning. At the heart of this triptych, Leonidas Kavakos takes on Prokofiev’s Violin Concerto no. 2, revealing its profound lyricism, wounded nobility, and intimate rhythmic poetry. An evening shaped by imaginary forces and vital energies that illuminate our inner world.

Programme

Samy Moussa, Elysium (12min)
Piotr Ilich Tchaïkovski, Concerto pour violon op.35, TH59 en ré majeur (33 min)
Igor Stravinsky, L’Oiseau de feu (ballet intégral) (45 min)

Program

Samy Moussa, Elysium (12min)
Pyotr Ilyich Tchaikovsky, Concerto for violin op.35, TH59 in D major (33 min)
Igor Stravinsky, The Firebird (full-length ballet) (45min)

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

art rock / Hard Rock / prog

Styx à la Place Bell

by Rédaction PAN M 360

La création et l’enregistrement de nouvelles musiques sont souvent considérés comme le moteur de tout groupe, une philosophie que Styx, continue d’incarner avec la sortie de Circling From Above, le 18e album studio de son impressionnant catalogue. Composé de 13 titres, l’album explore les complexités de l’expérience humaine à travers le prisme croisé de la technologie et de la nature. Troisième album du groupe en huit ans, il offre une expérience d’écoute de 41 minutes, à la fois stimulante et exaltante. Véritable chef-d’œuvre de narration, il allie les caractéristiques propres à Styx à des avancées audacieuses, s’appuyant sur la dynamique créative des récents albums The Mission (2017) et Crash of the Crown (2021)

Creating and recording new music is often considered the lifeblood of anyband—an ethos AOR torchbearers Styx continue to embody with the release of Circling From Above, the 18th studio album in their formidable catalog. Spanning 13 tracks, the album navigates the complexities of the human experience through the intersecting lenses of technology and nature. The album, the band’s third in eight years, delivers a 41-minute, end-to-end listening experience that is both thought-provoking and exhilarating. A masterclass in storytelling, it blends signature Styx hallmarks with bold steps forward—building on the creative momentum of recent releases The Mission (2017) and Crash of the Crown (2021)

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient d’evenko et est adapté par PAN M 360

Baroque / Indian Classical

Caprice at the 9th Floor: a pleasant meeting between Baroque and Carnatic music

by Frédéric Cardin

The Caprice ensemble offered an unusual meeting between Carnatic music (from South India, represented by the excellent flautist J.A. Jayant) and Baroque (European) during a rather pleasant concert on the 9th floor of the Eaton Centre in Montreal. If the concerts are usually scheduled at 5 p.m., it was at noon that it was held, exceptionally. I don’t know if it was the time itself, but the attendance result was positive, for a proposal that was quite niche after all. Successful initiative, therefore, in terms of attendance, and, I am happy to say, also in purely artistic terms. It was not a total fusion between the two aesthetics, far from it. Let’s rather call it a meeting and a dialogue, in which each protagonist often expressed themselves in their own musical language.

It is the transitions between the pieces, Indian and Baroque, as well as the judicious choice of the program, that managed to create a beautiful impression of symbiosis for the entirety of the hour and a few of the concert.

The concert was launched with an improvisation on the bansuri flute, carried by the subtle arabesques of Jayant, a flautist renowned for his timbral quality and technical ease. An exoticism (from a Western point of view), which led to a striking contrast, when the Caprice ensemble began a kind of variation in prelude to the launch of the hit of baroque hits: the famous Pachelbel’s Canon. Fortunately, there was no routine in Caprice’s performance. A colourful reading of ornamental details and a lively rhythmic dynamic made it quite refreshing. Jayant returned with a classical Indian piece (Jagadodharana by Purandara Dasa, a composer who worked during the European Renaissance), supported by the traditional drone associated with this music, but here provided by the Montreal orchestra. Caprice continued with Bach’s Air on the G String, and the rest of the hour unfolded somewhat like that, but with transitions between the two traditions making quite a bit of sense all the time, whether on a rhythmic, harmonic, or simply atmospheric level.

I also highlight the very beautiful contribution of the bass William Kraushaar, who gave us some very beautiful moments of vocal grace in Purcell (Wondrous Machine and The Cold Song), Handel (O ruddier than the cherry), and especially Monteverdi (Si dolce è’l tormento), one of the most beautiful song melodies, across all styles and eras. His deep timbre, with a dark and captivating purple hue, gave me some chills. Only in The Cold Song did I perceive moments where the artist omitted certain repetitions (symbolising the shivering cold) or phrase endings. It is indeed a piece that is difficult to sustain mechanically. But it’s really not much to complain about, in the end. In any case, he recovered very well in the next piece, and finale, signed by Handel. A whirlwind piece of intense love, executed with precise and captivating technique for the listening ears.

The director of Caprice, Matthias Maute, said that this concert served as a territory to explore and build a music of the future, where the world’s traditions would speak to each other on equal terms, while inspiring stimulating innovations.

READ THE INTERVIEW I CONDUCTED WITH HIM ABOUT THIS CONCERT

In this sense, the essay proposed by Caprice and his guest is quite successful, and makes one want to have more in the future.

cinéma / Contemporary / Création

OM : Symphonie du vivant à la Maison symphonique

by Rédaction PAN M 360

Nous qui rêvons. Une expérience immersive célébrant la beauté de la nature canadienne. Symphonie du vivant est un hommage orchestral et cinématographique à la beauté de la vie. À l’occasion de la grande première du film projeté en concert, la musique évocatrice d’Anaïs Larocque, créée en étroite collaboration avec la cinéaste Marie-Julie Dallaire, sera interprétée par l’OM sous la direction de Yannick Nézet-Séguin. Idée originale de l’explorateur Mario Cyr, qui signe les magnifiques images sous-marines, cette immersion sensorielle et émouvante au cœur de la vie des animaux propose une vision égalitaire de la cohabitation sur Terre de tous les vivants.

We who dream. An immersive experience celebrating the beauty of Canadian nature. Symphony of Life is an orchestral and cinematic tribute to the beauty of the living world. For the film’s world premiere, presented in concert, Anaïs Larocque’s evocative music, created in close collaboration with filmmaker Marie-Julie Dallaire, will be performed by the OM under the baton of Yannick Nézet-Séguin. Imagined by explorer Mario Cyr, who brings the film’s magnificent underwater imagery to life, this sensory and moving immersion into the animal world presents an egalitarian vision of the coexistence of all living beings on Earth.

Programme

Musique d’Anaïs Larocque (Orchestration de François Vallières) – Première mondiale, commande de l’OM

Program

Music by Anaïs Larocque (Orchestration by François Vallières) – World premiere, commissioned by the OM

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de l’Orchestre métropolitain et est adapté par PAN M 360

concours / Jazz / Modern Jazz

Jazz@vue : Concours de la relève au Théâtre Outremont

by Rédaction PAN M 360

Le Concours de la relève Jazz@Vue, dédié à la création et à la découverte de nouveaux talents (jeunes de moins de 30 ans), s’inscrit comme une initiative dynamique au cœur du milieu du jazz québécois. Il s’adresse aux musicien·ne·s en début de carrière, notamment aux étudiant·e·s universitaires et collégiaux·ales de la province, qui sont invité·e·s à prendre part à une expérience professionnelle d’envergure dans un cadre stimulant et formateur. Les candidatures seront évaluées par un jury de professionnels, figures phares du jazz au Québec. À l’issue d’une première sélection, six ensembles seront invités à présenter un mini-concert dans le cadre d’une demi-finale qui se tiendra en septembre 2026. Trois groupes seront ensuite retenus pour la finale, présentée au Théâtre Outremont le 1er novembre 2026, où ils interpréteront un programme de 30 minutes composé d’œuvres originales. Plusieurs prix seront remis aux lauréats par des partenaires associés au concours dont les Studios Piccolo, le Théâtre Outremont et Pianos Bolduc. Les finalistes profiteront d’un accompagnement professionnel offert par Effendi, incluant conseils et soutien au développement de carrière.

The Jazz@Vue Emerging Talent Competition, dedicated to the creation and discovery of new talents (young people under 30 years old), is a dynamic initiative at the heart of the Quebec jazz scene. It is intended for musicians at the beginning of their career, particularly university and college students from the province, who are invited to take part in a major professional experience in a stimulating and educational setting. The applications will be evaluated by a jury of professionals, leading figures in jazz in Quebec. Following an initial selection, six ensembles will be invited to present a mini-concert as part of a semi-final to be held in September 2026. Three groups will then be selected for the final, presented at the Théâtre Outremont on November 1, 2026, where they will perform a 30-minute program composed of original works. Several awards will be presented to the winners by partners associated with the competition, including Studios Piccolo, Théâtre Outremont and Pianos Bolduc. The finalists will benefit from professional support offered by Effendi, including advice and career development support.

POUR RÉSERVER VOTRE BILLET, C’EST ICI!

Ce contenu provient du Théâtre Outremont et est adapté par PAN M 360

Jazz / Modern Jazz

Jazz@vue : JazzLab Orchestra au Théâtre Outremont

by Rédaction PAN M 360

La série Jazz@Vue est présentée par le Théâtre Outremont en collaboration avec Effendi, l’une des étiquettes jazz les plus importantes au Canada, les Productions Yves Léveillé et les Productions Félix Stüssi, organismes voués à la production et la présentation de concerts de jazz contemporain. Du 29 octobre au 1er novembre, découvrez chaque soir un plateau double d’artistes.
Jazzlab Orchestra et invités
Depuis plus de deux décennies, le Jazzlab Orchestra s’affirme comme un véritable moteur de création au sein de la scène jazz. L’ensemble incarne une vision artistique forte : celle d’un collectif devenu un modèle de constance, un espace vivant d’échanges et de recherche. Formation unique en son genre, le Jazzlab se distingue par sa capacité à explorer et à intégrer une grande diversité de langages musicaux, dans un parcours artistique exigeant et cohérent. Cette démarche, portée par un travail collectif rigoureux, donne lieu à une signature artistique singulière et reconnue.

The Jazz@Vue series is presented by Théâtre Outremont in collaboration with Effendi, one of the most important jazz labels in Canada, Productions Yves Léveillé and Productions Félix Stüssi, organizations dedicated to the production and presentation of contemporary jazz concerts. From 29 October to 1 November, every evening discover a double platter of artists.
Jazzlab Orchestra and guests
For more than two decades, the Jazzlab Orchestra has established itself as a true creative engine within the jazz scene. The ensemble embodies a strong artistic vision: that of a collective that has become a model of constancy, a living space for exchange and research. A unique formation of its kind, the Jazzlab is distinguished by its ability to explore and integrate a wide variety of musical languages, in a demanding and coherent artistic journey. This approach, driven by rigorous collective work, gives rise to a singular and recognized artistic signature.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient du Théâtre Outremont et est adapté par PAN M 360

Jazz / Modern Jazz

Jazz@vue : Gentiane MG + Léno au Théâtre Outremont

by Rédaction PAN M 360

La série Jazz@Vue est présentée par le Théâtre Outremont en collaboration avec Effendi, l’une des étiquettes jazz les plus importantes au Canada, les Productions Yves Léveillé et les Productions Félix Stüssi, organismes voués à la production et la présentation de concerts de jazz contemporain. Du 29 octobre au 1er novembre, découvrez chaque soir un plateau double d’artistes.
Gentiane MG
La pianiste et compositrice montréalaise Gentiane MG présente Can You Hear the Birds? (Entends-tu les oiseaux?), un projet profondément humain, façonné par la connexion et l’écoute. La musique de cet album, enregistré avec son trio de longue date, composé du bassiste Levi Dover et du batteur Mark Nelson, se déploie comme une expérience partagée, ancrée dans la confiance, l’intuition et l’expression collective.
LéNo
LéNo c’est Arnaud Dolmen et Léonardo Montana, un duo français piano/batterie avec voix. Entraîné par les rythmes et la danse, envoûté par les ostinatos du piano, les cascades et sauts dans le vide, l’esprit s’abandonne… Un monde où deux musiciens sonnent comme cinq ou dix, et où dans chaque interstice jaillit l’histoire, les convictions, l’imaginaire et le rêve. Tirant le meilleur de sa Jazzette, la plus petite espèce de kit de batterie, Dolmen transcende l’héritage, décuple son champ d’expression et montre une inventivité folle, donnant à chaque ligne de Leonardo de nouveaux reliefs.

The Jazz@Vue series is presented by Théâtre Outremont in collaboration with Effendi, one of the most important jazz labels in Canada, Productions Yves Léveillé and Productions Félix Stüssi, organizations dedicated to the production and presentation of contemporary jazz concerts. From 29 October to 1 November, every evening discover a double platter of artists.
Gentian MG
Montreal pianist and composer Gentiane MG presents Can You Hear the Birds? , a profoundly human project, shaped by connection and listening. The music on this album, recorded with his longtime trio of bassist Levi Dover and drummer Mark Nelson, unfolds as a shared experience rooted in trust, intuition and collective expression.
LéNo
LéNo is Arnaud Dolmen and Léonardo Montana, a French piano/drums duo with vocals. Driven by the rhythms and the dance, bewitched by the ostinatos of the piano, the cascades and jumps into the void, the spirit abandons itself… A world where two musicians sound like five or ten, and where in each interstice springs history, convictions, imagination and dream. Making the best of his Jazzette, the smallest kind of drum kit, Dolmen transcends heritage, multiplies its field of expression and shows a crazy inventiveness, giving each line of Leonardo new reliefs.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient du Théâtre Outremont et est adapté par PAN M 360

classique / Contemporary

Le Vivier : Judith Fliedl – Ultraviolin à l’église Sainte-Hilda

by Rédaction PAN M 360

Judith Fliedl est une violoniste établie à Vienne, considérée comme l’une des violonistes autrichiennes les plus polyvalentes de sa génération. Sa démarche artistique se distingue par l’étroite imbrication du jeu en solo et de la musique de chambre, par une ampleur de répertoire exceptionnelle — de la littérature classique à la musique contemporaine — et par la recherche artistique. Plusieurs fois lauréate de concours nationaux et internationaux, elle s’est imposée ces dernières années particulièrement dans le domaine de la musique contemporaine, tant comme soliste qu’au sein de formations d’ensemble les plus variées.

Judith Fliedl is a violinist based in Vienna and is regarded as one of the most versatile Austrian violinists of her generation. Her artistic focus lies in the close interrelation of solo performance and chamber music, an exceptional breadth of repertoire—from classical literature to contemporary music—and artistic research. A multiple prizewinner of national and international competitions, she has established herself in recent years particularly in the field of contemporary music, both as a soloist and in a wide range of ensemble constellations.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de Le Vivier et est adapté par PAN M 360

Classical Period

Arion: Cinderella has fun and unleashes her magic

by Frédéric Cardin

A true gem, this Cinderella by Niccolo Isouard, premiered in 1810 at the Opéra-Comique. After savouring last night’s performance at the Bourgie Hall, by an Arion orchestra in great form, conducted briskly by Mathieu Lussier, and supporting often masterful performances by the soloists present, one understands why this lively work captivated the French public for a good part of the 19th century before being unfortunately relegated to the shadows of history by Massenet’s version (1899) and Rossini’s (La Cenerentola), which are more popular nowadays on opera stages. It must be said that this Cinderella has a form that has itself largely disappeared, that of an alternation between singing and spoken dialogue. Nevertheless, when one has heard an ensemble as effective as the one assembled by the producers of this largely Quebecois iteration, one can’t help but imagine a much more frequent return of this kind of show. At least on our side of the Atlantic, because in Europe, it is obviously less rare. Well…

If you want to learn much more about Isouard’s Cinderella, and about the composer himself, read the interview I conducted with Alexandre Dratwicki, Artistic Director of the Palazzetto Bru Zane – Centre de musique française, who closely collaborated on this production.

INTERVIEW WITH ALEXANDRE DRATWICKI 

Cinderella was presented in a staging by Julien Patenaude, who also played the role of Baron Montefiascone, Cinderella’s wicked stepfather, and the father of the two despicable stepsisters. Simple yet effective movements, and small scenic details to set the scenes: a hearth for the Baron’s castle (where Cinderella lives) and flowers on the ground for the episode at the King’s Palace. But above all, some projections on the back wall that are frankly hilarious and adapted to the local context. For example, at the end of the first act, when the King’s carriage transports the stepsisters to the Palace, leading to the intermission, an image of downtown Montreal with a castle worthy of Walt Disney further back, bordered by a traffic jam, indicates that the convoy will be about twenty minutes late because it is stuck on Décarie. I had a good laugh.

From the Overture, the tone was set: Arion is in great shape, particularly Simon Poirier, the solo horn, who launches an effective melody that we will hear again later, accompanied by the lace-like harp of Antoine Malette-Chénier. A formidable score for a brass instrument that is already difficult to control, especially here in its “natural” format, that is, without valves. Everything is done with the mouth and the hand in the bell. Poirier pulled it off with panache, even though a few notes were too “muffled” by the aforementioned hand in the pavilion. Nevertheless, respect. We knew, from that moment on, that the musical quality (instrumental) would be there. We also understood that the general attitude would be good-natured, with amusing projections accompanying these initial minutes occupied solely by the orchestra. Another good idea from Julien Patenaude: the characters are presented ironically. For example: Clorinde, occupation: detestable sister. Alias: Florie Valiquette. And so on. Really funny.

We are finally convinced for good with the arrival of the soloists. They are all good, vocally, in addition to playing with great precision. The characters are certainly caricatured, but not over-written. Emma Fekete is an appropriately authentic and kind Cinderella. Her clear, light soprano, but with enough substance, gives her the perfect timbre for the role, that of a normal, simple, and selfless young girl. The two wicked sisters are deliciously despicable. They have the most stratospheric passages, in which they must flit about like agitated hummingbirds. Florie Valiquette (Clorinde) and Magali Simard-Galdès (Tisbé) seem to fully enjoy their roles, imbuing them with a reprehensible condescension (towards Cinderella and “inferiors” in general) as well as a sycophantic obsequiousness dripping with bad faith in front of the one they think is the King (but is actually just a simple servant). Simard-Galdès excelled in the Act II Bolero where she attempts to seduce the (false) King, with music and a flair that, 65 years ahead of its time, evokes a certain Carmen.

Cyrille Dubois is the big name in this production, and he does not disappoint. His light but powerful tenor allows him to embody a Prince Ramir who is candid yet sincere and amiable. Laurent Deleuil is an efficient Alidor, Minister, and a bit of the King’s Magician, but, in my opinion, it is Dominique Côté who steals the show on the male side, even though he sings little (and when he does, we appreciate his warm baritone). It is especially in his flamboyant portrayal of Dandini, the servant who passes himself off as the King, that he excels and impresses. He is also the only one to (almost) play his role without a script. From his first appearance, we were hooked. He struts, he boasts, he winks at the two sisters (who take him for the King) with genuine delight, and with his unbuttoned shirt, he absolutely resembles a cheesy uncle who has been given 24 hours to fulfil all his dreams. Fabulous.

The choral episodes, of very fine quality, are solidly performed by Chœur Éphémère.

We will note a technical detail to improve: the surtitles, which are actually “back titles” (projected on the back wall), are almost unreadable if you are in the front half of the hall, as the singers and their music stands mostly block them. They could be raised higher…

That said, this production deserves to be praised for its immense quality. The same protagonists will also make a recording for ATMA Classique, an initiative that is likely to become a reference version, as there is currently no worthy competition. A 1998 recording under the Olympia label, conducted by Richard Bonynge with moscovite forces, has become unavailable, in addition to suffering from low-quality sound, typical of productions from the Soviet era (even though the USSR had already died). Another, more recent version (2018) is available on Albany Records, and conducted by the Manhattan School of Music Opera Theatre. I listened to it, and while the soloists show great talent, the orchestra is simply not on the same level as Arion.

Another performance is given on Sunday at 2:30 PM. If you are reading this on Sunday morning, you still have a chance to savour this treasure, not only hidden but also unearthed and brilliantly resurrected here.

Bring more like this. Long live this collaboration between Arion and the Palazzetto Bru Zane.

big band / Contemporary Jazz / Jazz

Faculté de Musique de l’UdeM : Le Big Band de l’UdeM reçoit le batteur John Riley à la salle Claude-Champagne

by Rédaction PAN M 360

À l’occasion du 60e anniversaire du Vangard Jazz Orchestra, le Big Band de l’UdeM reçoit le batteur John Riley, figure emblématique de cette prestigieuse formation. Cette rencontre exceptionnelle met à l’honneur l’héritage d’un orchestre légendaire et offre aux étudiant(e)s le privilège de partager la scène avec un des grands artisans du jazz contemporain.

To mark the 60th anniversary of the Vanguard Jazz Orchestra, the UdeM Big Band welcomes drummer John Riley, an iconic figure of this prestigious ensemble. This exceptional event celebrates the legacy of a legendary orchestra and offers students the privilege of sharing the stage with one of the great pioneers of contemporary jazz.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de la Faculté de Musique de l’UdeM et est adapté par PAN M 360

Subscribe to our newsletter

Inscription
Infolettre

"*" indicates required fields

Type of Suscribers