Taverne Tour : Félix Stüssi Quartet

by Sami Rixhon

Quand il parcourt la ville à vélo ou lorsqu’il est derrière son piano, Félix Stüssi aime l’aventure et le vent frais. Depuis qu’il a tourné le dos au journalisme et qu’il a monté à bord d’un cargo en direction du Canada, ce Suisse d’origine se consacre entièrement au piano jazz et à la composition. En 2007, son quintette gagne le prestigieux Grand Prix du Festival International de Jazz de Montréal. L’année suivante, le quintette devient un sextette avec l’ajout du tromboniste américain Ray Anderson. Les quatre albums du groupe sont très bien reçus des deux côtés de l’Atlantique, des nominations pour divers prix (Juno Awards, ADISQ, Prix Opus) en témoignent.

Be it on a bicycle or behind the keys, Félix Stüssi loves adventure and fresh air. Since his move from Switzerland to Canada, Stüssi has turned his back on journalism – jazz piano and composition are now his main focus. In 2007, his quintet won the prestigious Grand Prix of the Festival International de Jazz de Montréal. A year later, US-trombonist Ray Anderson joined the project and the band turned into a sextet. The four albums of the group were very well received on both sides of the Atlantic, they were nominated for several prizes (Juno Awards, ADISQ, Prix Opus).

BILLETS PAR RÉSÉRVATION TÉLÉPHONIQUE

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Electronic

Igloofest 2nd Night: Wild Card with Apashe, Marie Davidson, Dileta

by Loic Minty

Marked with wild musical contrasts and daring approaches, this second night of Igloofest is another reminder of Montreal’s vibrant local scene. We once again witnessed the power of breaks and bass in full effect as big name dj’s turned the dial up, and saw the rising starpower of local homegrown harvest legends in a perfect exhibition of dance music.

Headlining the Videotron stage was none other than Marie Davidson. In this dj set, her emblematic synthwave sound revealed its origins in a steady stream of late night analog techno crowned with some of her own tracks like “Work it” which had the crowd losing its mind. Marie Davidson showed us a guideline into her musical genius and as in her live shows, the wide-eyed presence and honest spoken word effortlessly enticed the crowd into her unapologetically bold aura.

Matching this energy, Honeydripp proved once again to be the queen of kinetic sounds as she liquefied genres into her own spaced out mix of breaks, bass and a groovy remix of Fergalicious. Playing with silence and space, her rhythms teased the line of recognisable patterns, occasionally broken by bassy dub influenced sections which shook the stage.

Ending on a high note with chopped breaks going in and out of time, homegrown harvest’s reputation for long nights dancing was not let down. As Dileta put us in a time warp of progressively rich drum patterns and acid bass sequences to tear the roof off, the crowd quickly understood this was an experience like no other. Dileta’s vast selection of dark leftfield tracks, seamless transitions and sharp accents of retro samples had people young and old grooving from side to side in unisson.

Meanwhile on the Sapporo stage we witnessed an ascent into craze as Jeska displayed a virtuoso performance of drum and bass, accelerating from a wide sound with minutely precise breaks into head banging, hard style territory. Imanu had no problem keeping this energy up with his feel good, synthpop textures and kept the crowd bouncing to classic pop samples mixed between densely energetic house.

It seemed the night would go on in this boundary breaking succession of increasingly ecstatic sounds until in a sudden turn of events, classical music from Apashe’s repertoire transformed the entire festival into a scene from Dante’s inferno.

As the haze from the river gradually blanketed the fluorescent lights, people started slowing down, almost expecting a ballerina to come out in “pas chassé”. But this was all part of Apashe’s master plan. After a solid 20 minutes, a manifesto appeared on the screen and in an instant the scene was flooded with strobes. The rest of the night belonged to Apashe’s, and with his artistic conception of EDM combined with the stadium scale scenography and sound, it will be one to remember. Notable to his “majestic” style was the display of cinematic visuals paired in synchronicity with transitions and instruments that created a mesmerizing audiovisual experience. After an emotionally evoking set, Apashe leaves us once again with the soft sounds of an orchestra walking us out into the streets. The buzz of the crowd turns into screams and we all know what we just witnessed. Igloofest is living up to the hype.

Classical / Classical Singing / orchestre / période moderne / période romantique

OSM | Mahler, Payare and The OSM: Between Inner Turmoil, Light and Fatality, a Powerful Evening.

by Hélène Archambault

The OSM has made an enlightened choice to present the works of Alma Mahler and those of her husband, Gustav, in the same concert to inaugurate 2025. The performance of Alma’s works alongside those of her illustrious husband is a contemporary nod to a time when many female musicians are giving up their careers to support those of their husbands.

At the age of twenty-three, Alma, née Schindler, frequented the Viennese artistic scene, composing lieder and insisting on her artistic and intellectual independence. She met Gustav Mahler in November 1901. Twenty years her senior, he made a deal with her: to become his wife, she had to give up her aspirations as a composer. Passionately in love, she accepted, and the marriage was celebrated on March 9, 1902.

Despite this “ban” on composing, Gustav suggested that Alma rework the lieder and have them published (in the program notes, Catherine Harrison-Boisvert notes that “Gustav seems to have wanted to make amends”). It is fortunate that Alma’s Lieder have been rescued from anonymity in this way. Their performance is a first for the OSM. With these 5 lieder, the orchestra offers a sensitive listening experience, and, in my case, one of discovery. In meins Vaters Garten (In my father’s garden) is particularly touching. Mezzo-soprano Beth Taylor’s deep, radiant voice is enhanced by the composer’s expressive writing. My only downside? The orchestration by Colin and David Matthews. A slight mismatch between the two scores is unfortunately to the detriment of the voice.

Of the Sixth Symphony, called “Tragic”, Alma writes that it is her husband’s most personal work, the one that sprang most directly from his heart. She also reports that in writing the Sixth Symphony, Gustav anticipated his own life in music. Three blows of fate, symbolized by as many hammer blows in the finale – only two of which are retained – also befell him: the loss of their daughter Maria to scarlet fever, a diagnosis of incurable heart disease, and the loss of his position at the Vienna Opera. As Mahler’s Sixth was written before these events, this interpretation is debatable. But the story is worth telling, if only to stir the imagination! And perhaps also a little to allow ordinary people to become a little more attached to the composer?

Speaking of attachment, the OSM and Payare, in their interpretation, go the right way. From the very first bar, the tempo is energetic without being frantic. The tone is set. The first movement unfolds between the military and the evocation of Alma, embodied by the strings. The orchestra alternates between rumble and light. Payare seems to play with rhythm. Though regulated like a metronome, time with him seems more supple, more alive. The beautiful pages of the second movement feature a dialogue between woodwinds and brass, in which the orchestra’s playing is limpid. The third movement, almost dreamlike, and the finale follow one another without a break. This sequence seems to allow the orchestra to bewitch us, before plunging us into an emotional stampede in the style of “being Gustav Mahler” right to the end. Just writing it makes me breathless – the energy deployed by the conductor must be the envy of the greatest sportsmen and women. Tragic” symphony, you say? Between enchantment, sweetness and tragedy, one does not leave the symphonic house completely unscathed.

Photo Credit: Gabriel Fournier

Baroque / classique

Les Violons du Roy : Gauvin, Lemieux – divin Handel

by Rédaction PAN M 360

Karina Gauvin et Marie-Nicole Lemieux occupent une place à part dans notre vie musicale en général et chez Les Violons du Roy en particulier! Depuis le tout début de leurs carrières respectives, elles font toutes deux partie des artistes invités préférés du public et des musiciens des Violons du Roy. Quelle chance de pouvoir les réunir avec nos musiciens et Jonathan Cohen pour marquer notre 40^e anniversaire de façon exceptionnelle!

Karina Gauvin and Marie-Nicole Lemieux hold a special place in our music community, and even more so at Les Violons du Roy! Since the very beginning of their respective careers, they have both ranked among the favourite guest artists of the public and the orchestra. It’s a real privilege to bring them together with Jonathan Cohen and our musicians to celebrate our 40th anniversary with a truly exceptional concert!

Programme

Ouverture (Judas Maccabaeus, HWV 63)
From this dread scene (Judas Maccabaeus, HWV 63)
Sinfonia (Alexander Balus, HWV 65)
Fury, with red sparkling eyes (Alexander Balus, HWV 65)
Our limpid streams (Joshua, HWV 64)
Ouverture (Solomon, HWV 67)
Will the sun forget to streak (Solomon, HWV 67)
Arrival of the Queen of Sheba (Solomon, HWV 67)
Thou fair inhabitant – Welcome as the Dawn of Day (Solomon, HWV 67)
Ouverture (Belshazzar, HWV 61)
Great victor, at your feet I bow (Belshazzar, HWV 61)
Ouverture (Theodora, HWV 68)
Fly, fly, my brethren – As with rosy steps the morn (Theodora, HWV 68)
But why art thou disquieted, my soul – Oh! that I on wings could rise (Theodora, HWV 68)
To thee, thou glorious son of worth (Theodora, HWV 68)
Streams of pleasure ever flowing (Theodora, HWV 68)

Program

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Alternative Rock / Indie Pop

Ziggy Alberts au MTelus

by Rédaction PAN M 360

Auteur-compositeur-interprète australien au son lyrique et décontracté, Ziggy Alberts mélange guitares acoustiques et paroles sincères – souvent imprégnées d’images de la nature – avec des mélodies pop entraînantes et un rythme moderne. Il débute sa carrière musicale en tant que musicien de rue, et cette spontanéité propre au busking reste perceptible dans son travail, notamment sur ses premiers albums comme Made of Water (2013). Au fil du temps, il affine son style et élargit son public, atteignant un succès retentissant avec Laps Around the Sun (2018), certifié double platine en Australie. Alberts est également un militant écologiste, un engagement qui transparaît dans plusieurs morceaux de son album Searching for Freedom (2021).

An Australian singer/songwriter with a lyrical, laid-back sound, Ziggy Alberts blends acoustic guitars and heartfelt lyrics (often filled with images of nature) with engaging pop melodies and an up-to-date rhythmic pulse. Alberts began his musical career as a busker, and the low-key immediacy of street performing can still be heard in his work, particularly on early efforts like 2013’s Made of Water. As he honed his craft, his audience grew, and 2018’s Laps Around the Sun was a breakout success that went double platinum in Australia. Alberts is also an environmental activist, a commitment reflected in several songs on 2021’s Searching for Freedom.

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Alt Folk / Pop

Francos de Montréal : Aliocha Schneider au MTelus

by Rédaction PAN M 360

Tout commence à Montréal, où les parents d’Aliocha se sont installés, quittant Paris pour partir à l’aventure. Aliocha commence le chant à 10 ans, la guitare à 13. Il se met à écrire ses propres chansons, d’abord en anglais, puis il rencontre Jean Leloup son parrain de chanson qui le pousse vers le studio. Son premier disque, Eleven Songs, paru en 2017 sur Audiogram, permet à l’auteur-compositeur-interprète de se faire remarquer sur les scènes d’ici et d’ailleurs. En 2020, il enchaîne avec un second disque, Naked. En 2020, pour contrer le repos forcé par la pandémie, Aliocha s’essaye à un nouvel exercice: il traduit un de ses morceaux en français. Cela donne C’est tout, c’est rien, une première tentative très bien reçue, qui le pousse à continuer. Comme si en français, Aliocha s’ouvrait davantage, sur l’amour, la relation à distance, les désirs et les rêves. Aliocha tente d’autres sonorités, d’autres compositions. Ses deux premiers extraits, Avant Elle et Ensemble lui ont valu les éloges de la critique et du public. Le troisième album d’Aliocha Schneider est paru en septembre 2023 sur Audiogram.

It all begins in Montreal, where Aliocha’s parents settled after leaving Paris to seek adventure. Aliocha started singing at the age of 10 and playing guitar at 13. He began writing his own songs, initially in English, before meeting Jean Leloup, his mentor, who encouraged him to go into the studio. His debut album, Eleven Songs, released in 2017 on Audiogram, allowed the singer-songwriter to gain recognition on stages both locally and internationally. In 2020, he followed up with his second album, Naked. During the forced break caused by the pandemic, Aliocha tried his hand at a new challenge: translating one of his songs into French. This resulted in C’est tout, c’est rien, a first attempt that was well received, encouraging him to continue. It seemed that in French, Aliocha opened up more, exploring themes of love, long-distance relationships, desires, and dreams. He experimented with different sounds and compositions, and his first two singles, Avant Elle and Ensemble, earned critical and public acclaim. His third album was released in September 2023 on Audiogram.

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Alt Folk / Alternative / Indie Pop

Rainbow Kitten Surprise au MTelus

by Rédaction PAN M 360

Originaire de la ville universitaire de Boone, nichée dans les montagnes Blue Ridge en Caroline du Nord, Rainbow Kitten Surprise propose un mélange fervent de pop indie lumineuse et de folk-rock sincère, porté par des harmonies soignées. Leur combinaison de maîtrise instrumentale et d’influences jam band leur a permis de se bâtir une solide base de fans. Après quelques sorties indépendantes, le groupe signe avec Elektra pour publier son deuxième album complet, How To: Friend, Love, Freefall, en 2018. Une année de tournée intensive suit, menant à l’album live RKS! Live from Athens Georgia en 2021. Après plusieurs années consacrées aux singles, Rainbow Kitten Surprise fait son retour en 2024 avec le double album ambitieux Love Hate Music Box, qui brouille les frontières entre les genres.

Hailing from the Blue Ridge Mountain college town of Boone, North Carolina, Rainbow Kitten Surprise play a fervent mix of bright indie pop and earnest, harmony-driven folk-rock. Their mix of tight instrumental chops and jam band finesse helped earn them a strong grassroots following and, after a couple of indie releases, they signed with Elektra to issue their second full-length, How To: Friend, Love, Freefall, in 2018. A year of heavy touring followed and yielded the 2021 concert album RKS! Live from Athens Georgia. After focusing on singles for several years, Rainbow Kitten Surprise returned in 2024 with the ambitious, genre-blurring double album Love Hate Music Box.

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Création / participatif

Montréal/Nouvelles Musiques 2025 : Il Teatro Rosso

by Rédaction PAN M 360

Une «maison des miroirs», où le direct et l’enregistré, le réel et le virtuel, la vérité et la fausseté se confondent, et où, de la même manière, l’interprète devient l’observateur et le public, l’observé.
Dans le cadre unique du magnifique théâtre Plaza, Il Teatro Rosso est un tout nouveau projet éclaté développé par NO HAY BANDA, en collaboration avec le compositeur Steven Takasugi et le réalisateur Huei Lin pour la partie cinématographique. Le concert intègre du «lip-synching» stratégique, de la fausse spatialisation et un égarement perceptif délibéré.
L’œuvre est programmatique, représentative, narrative, provocante, conflictuelle, humoristique, puis plus du tout humoristique, le tout pour accueillir un message social et politique en phase avec notre culture technologique contemporaine et l’humanité à une époque de consommation de masse, de crise et de transition.
Ne manquez pas ce spectacle innovateur et unique qui est en préparation depuis des années par une équipe exceptionnelle d’artistes du Québec et d’ailleurs.

A ‘house of mirrors,’ where live and recorded, real and virtual, truth and falsity merge, and where, in much the same way, the performer becomes the observer and the audience the observed.
In the unique setting of the magnificent Théâtre Plaza, Il Teatro Rosso is a brand new project developed by NO HAY BANDA, in collaboration with composer Steven Takasugi and director Huei Lin (cinematography). The concert incorporates strategic lip-synching, false spatialization and deliberate perceptual misdirection. The aim is creating a ‘house of mirrors,’ where live and recorded, real and virtual, truth and falsity merge, and where, in much the same way, the performer becomes the observer and the audience the observed.
The work is programmatic, representational, narrative, provocative, confrontational, humorous and then not humorous at all, conveying a social and political message in tune with our contemporary technological culture and humanity, in an age of mass consumption, crisis and transition.
Don’t miss this innovative and unique show, which has been in the making for years by an exceptional team of artists from Quebec and beyond.

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Ce contenu provient de la Société de musique contemporaine du Québec et est adapté par PAN M 360

Breakbeat / Dancehall / jungle

ALL NIGHT — IMOGEN (UK)• BEARCAT (US) et plus à la SAT

by Rédaction PAN M 360

Pour ce premier All Night 2025, la SAT présente une programmation explosive aux influences multiples avec IMOGEN et BEARCAT, deux prodiges made in UK. On passera de l’électro à la techno en déviant par des sonorités break, jungle, dancehall, basse ou encore pun.
Puisqu’on ne fait pas les choses à moitié, quatre figures locales joignent la soirée pour deux b2b de feu.
Si ce All Night marque leur première venue à Montréal, IMOGEN et BEARCAT ne sont pas à leurs premiers pas. La première faisait sa première gig au Berghain à 18 ans et run aujourd’hui son label à Londres, la seconde a été feature best music sur Resident Advisor et ouvrait pour Madonna l’année passée. Rien que ça.
On a très hâte de les accueillir dans l’Espace SAT aux côtés de quelques un.e.s de nos figures de la communauté DJ montréalaise: Mossy Mugler, Siren Mars, Chloe Lallouz et Odile Myrtil, à l’occasion de deux b2b dont vous nous donnerez des nouvelles ! Une installation visuelle sera présentée par Fantasy.

For this first All Night 2025, the SAT presents an explosive, multi-influenced program featuring IMOGEN and BEARCAT, two made-in-UK prodigies. We’ll be going from electro to techno, drifting through break, jungle, dancehall, bass and pun sounds. Since we don’t do things halfway, four local figures will join the party for two fiery b2b sessions.
While this All Night marks their first time in Montreal, IMOGEN and BEARCAT are not newcomers to the club scene. The former did her first gig at the Berghain at the age of 18 and now runs her own label in London, while the latter was featured best music on Resident Advisor and opened for Madonna last year.
We can’t wait to welcome them in the SAT Space alongside some of our leading figures in the Montreal DJ community: Mossy Mugler, Siren Mars, Chloe Lallouz and Odile Myrtil, for two b2b sessions we’ll be hearing all about! A visual installation will be presented by Fantasy.

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Alternative / Rock / Ska

Grim Skunk au MTelus

by Rédaction PAN M 360

Formé en 1988 après la dissolution du groupe hardcore montréalais Fatal Illness, Grim Skunk donne son premier concert au début de l’année suivante. Mélangeant rock alternatif mordant et éléments de ska, le groupe sort son premier album éponyme en 1994. En 1996, il fonde son propre label, Indica Records, sous lequel paraîtront plusieurs albums, dont Meltdown (1996) et Fieldtrip (1998).

Formed in 1988 upon the dissolution of Montreal hard-core band Fatal Illness, the band Grim Skunk played their first show early the following year. Combining edgy alternative rock with elements of ska, the group released their self-titled debut in 1994. By 1996, the group had started their own label, Indica Records, and further releases during the decade, including 1996′ Meltdown and 1998’s Fieldtrip, would be issued through this imprint.

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fanfare / Techno

MEUTE au MTelus

by Rédaction PAN M 360

L’ensemble allemand MEUTE est une fanfare techno de 11 musiciens, interprétant des morceaux de musique électronique réarrangés ainsi que des compositions originales avec des instruments à vent et des percussions. Le groupe se produit aussi bien sur scène dans des clubs et des salles de concert que dans la rue, sans amplification. Leur reprise de Rej d’Âme en 2016, devenue virale, marque leurs débuts. L’année suivante, ils s’attaquent à un autre classique des clubs, The Man with the Red Face de Laurent Garnier, sur leur premier album Tumult. Au fil de leurs albums, MEUTE a repris des morceaux de Deadmau5, Disclosure, Trentemøller et d’autres artistes. Leur quatrième album studio, Empor, est sorti en 2024.

German ensemble MEUTE is an 11-piece techno marching band, performing reworked dance tracks as well as original compositions on brass instruments and percussion. The group performs on-stage in clubs and concert halls, as well as unamplified on the street. Debuting with a 2016 cover of Âme’s “Rej,” which achieved viral success, they tackled another club staple, Laurent Garnier’s “The Man with the Red Face,” on their 2017 full-length Tumult. On their subsequent releases, MEUTE has covered songs by Deadmau5, Disclosure, Trentemøller, and others. Their fourth studio album, Empor, appeared in 2024.

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classique / période romantique

Pro Musica : Marion Portelance et Emmanuel Lafores à la salle Claude-Léveillée

by Rédaction PAN M 360

Marion Portelance, figurant sur la liste 30 under 30 des musiciens classiques de la CBC 2023, la violoncelliste montréalaise Marion Portelance s’est produite en tant que soliste avec différents orchestres à Montréal, à Londres ainsi qu’en France. Chambriste active, elle performe au Royaume-Uni avec son piano trio, en Suisse, aux États-Unis et au Canada, souvent comme membre du quatuor Vatra. Passionnée d’orchestres, elle se joint régulièrement à des ensembles canadiens et européens, tels le London Philharmonic Orchestra et le Chineke! Orchestra.
Comme soliste et chambriste, elle a reçu divers prix de concours canadiens et britanniques. En 2023, elle a l’honneur de jouer sur le violoncelle du Roi Charles III pour le concert du Couronnement au Château de Windsor, diffusé par la BBC. *
Emmanuel Laforest se distingue par les nombreux prix qu’il a reçus. En 2022 et 2024, il a remporté le prix de la Fondation du Conservatoire. Il a aussi obtenu le premier prix du concours de concerto du Conservatoire de Montréal, le grand prix au Concours de musique du Canada Canimex, le grand prix du concours de musique de la Capitale, volets solo et concerto, le grand prix du concours Classival de Valleyfield ainsi que les ze grands prix aux concours de piano « Auguste Descarries », de Sherbrooke et de Sorel. En 2021, il gagnait le 1er prix et le grand prix du volet concerto du concours de Sorel.
En tant que soliste, il a joué avec la Sinfonia de Lanaudière, l’Orchestre symphonique du Conservatoire de musique de Montréal, le Symphony Nouveau Brunswick, ainsi qu’aux préludes de l’Orchestre métropolitain.

Marion Portelance, featured on CBC’s 30 Under 30 list of classical musicians in 2023, is a Montreal-based cellist who has performed as a soloist with various orchestras in Montreal, London, and France. An active chamber musician, she performs in the UK with her piano trio, in Switzerland, the United States, and Canada, often as a member of the Vatra Quartet. Passionate about orchestras, she frequently joins Canadian and European ensembles, including the London Philharmonic Orchestra and the Chineke! Orchestra.
As a soloist and chamber musician, she has received several awards from Canadian and British competitions. In 2023, she had the honor of performing on King Charles III’s cello for the Coronation concert at Windsor Castle, broadcast by the BBC.
Emmanuel Laforest is distinguished by the numerous awards he has received. In 2022 and 2024, he won the Conservatoire Foundation prize. He also took first place in the Conservatoire de Montréal’s concerto competition, the grand prize at the Concours de musique du Canada Canimex, the grand prize at the Concours de musique de la Capitale (solo and concerto categories), the grand prize at the Classival competition in Valleyfield, as well as two grand prizes at the “Auguste Descarries” piano competition, and in Sherbrooke and Sorel. In 2021, he won both first and grand prizes in the concerto category at the Sorel competition.
As a soloist, he has performed with the Sinfonia de Lanaudière, the Orchestre symphonique du Conservatoire de musique de Montréal, the Symphony New Brunswick, and at the Préludes of the Orchestre Métropolitain.

Programme

Saison prodige – Marion Portelance, violoncelle et Emmanuel Laforest, piano
LUDWIG VAN BEETHOVEN, Sonate pour violoncelle et piano No. 3 en la majeur, op. 69
I. Allegro, ma non tanto
II. Scherzo. Allegro molto – Trio
III. Adagio cantabile – Allegro vivace
FRÉDÉRIC CHOPIN, Fantaisie en fa mineur, op.49
JOHANNES BRAHMS, Sonate pour violoncelle et piano no.1 en mi mineur, op. 38
I.Allegro non troppo.
II. Allegretto quasi minuetto
III. Allegro

Program

Prodigy Season – Marion Portelance, cello and Emmanuel Laforest, piano
LUDWIG VAN BEETHOVEN, Cello Sonata No. 3 in A major, Op. 69
I. Allegro, ma non tanto
II. Scherzo. Allegro molto – Trio
III. Adagio cantabile – Allegro vivace
FRÉDÉRIC CHOPIN, Fantaisie in F minor, Op. 49
JOHANNES BRAHMS, Cello Sonata No. 1 in E minor, Op. 38
I. Allegro non troppo
II. Allegretto quasi minuetto
III. Allegro

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