{"id":139049,"date":"2025-06-02T13:06:27","date_gmt":"2025-06-02T17:06:27","guid":{"rendered":"https:\/\/panm360.com\/gig_review\/cmim-2025-bilan-dune-premiere-epreuve-relevee\/"},"modified":"2025-06-05T20:52:50","modified_gmt":"2025-06-06T00:52:50","slug":"cmim-2025-bilan-dune-premiere-epreuve-relevee","status":"publish","type":"gig_review","link":"https:\/\/panm360.com\/en\/gig_review\/cmim-2025-bilan-dune-premiere-epreuve-relevee\/","title":{"rendered":"CMIM 2025 | Assessment of a Successful First Event"},"content":{"rendered":"\n

For a week now, Montreal has been the scene of one of the city’s leading cultural events. A fixture on the Montreal musical scene since 2002, the Montreal International Music Competition (MIMC) is currently in full swing, with its 2025 edition devoted to the voice. A total of 23 singers from seventeen countries have taken to the stage at Salle Bourgie in Montreal over the past seven days. During the various stages of this first event, the competitors had to perform a program made up of pieces from the repertoire of opera arias and the melody genre. The cumulative points from the two stages will be used to identify 10 singers who will go on to the semi-final stage.<\/strong><\/p>\n\n\n\n

During the first few days of the competition, we witnessed colorful performances, full of sensitivity and musicality, as each singer took to the stage with his or her own personality. Not all of them will go on, but none of them will be ashamed of the performances they gave, which all contained interesting elements. Without being exhaustive, here are just a few of the performances we heard that made an impression on us.<\/p>\n\n\n\n

First of all, Russian-born soprano Julia Muzychenko-Greenhalgh, who opened the competition, delighted with a performance of the difficult Air des clochettes (\u201cWhere does the young Hindu go\u201d) from L\u00e9o Delibes’ opera Lakm\u00e9. A perilous choice in terms of vocal line. Canadian soprano Sophie Naubert also made a remarkable impression, notably with her strong stage presence and expressive sense, not least in the aria \u201cTake It to Tumblr*\u201d from Kendra Harder’s Book of Faces. The same goes for Fanny Soyer, who presented the different characters of the arias in her first test with nuance and versatility, both through vocal agility and meaningful stage gestures. Her performance of \u201cFormons les plus brillants concerts\u2026 Aux langueurs d’Apollon\u201d from Jean-Philippe Rameau’s opera Plat\u00e9e was utterly captivating. English baritone Theodore Platt is also one to watch. Blessed with a powerful, warm timbre and great musicality in his sensitive interpretation of the aria \u201cO Du, Mein Holder Abendstern\u201d from Wagner’s Tannh\u00e4user during his performance of the Aria stage, he also distinguished himself in his round devoted to melody. German baritone Valentin Ruckebier’s character and playing are also worthy of note, particularly in the Machiavellian aria \u201cVous qui faites l’endormie\u201d from Gounod’s Faust.<\/p>\n\n\n\n

Among the South Korean representatives, tenor Junho Hwang, bass-baritone Chanhee Cho and soprano Yewon Han delivered solid performances: Hwang for his interpretation, diction and sensitive musicality in \u201cSalut demeure chaste et pure\u201d, also from Gounod’s Faust, Cho for her committed stage presence, and Han for her perfectly accurate interpretation of the elevated aria \u201cI am the wife of Mao Tse-tung\u201d from John Adams’ opera Nixon in China.<\/p>\n\n\n\n

And the semi-finalists are\u2026<\/strong><\/p>\n\n\n\n

At the end of the first round, the international jury selected the ten semi-finalists of the Voix 2025 edition, who will perform on the Maison symphonique stage on June 3 and 4 with the Orchestre symphonique de Montr\u00e9al, the official orchestra of the MIMC, under the direction of conductor Patrick Summers. The semi-finalists are :<\/p>\n\n\n\n

Junho Hwang, T\u00e9nor, South Korea<\/em><\/p>\n\n\n\n

Katerina Burton, Soprano, United-States<\/em><\/p>\n\n\n\n

Chanhee Cho, Baryton-basse, South Korea<\/em><\/p>\n\n\n\n

Yewon Han, Soprano, South Korea<\/em><\/p>\n\n\n\n

Fleuranne Brockway, Mezzo-soprano, Australi<\/em>a<\/p>\n\n\n\n

Fanny Soyer, Soprano, France<\/em><\/p>\n\n\n\n

Ariane Cossette, Soprano, Canada<\/em><\/p>\n\n\n\n

Jingjing Xu, Mezzo-soprano, Chin<\/em>a<\/p>\n\n\n\n

Theodore Platt, Baryton, UK<\/em><\/p>\n\n\n\n

Julia Muzychenko-Greenhalgh, Soprano, Russi<\/em>a<\/p>\n\n\n\n

In addition to the announcement of the semi-finalists, two special prizes were awarded. Offered in partnership with Dixi Lambert, the Prize for the best interpretation of a contemporary aria<\/strong>, accompanied by a $2,500 purse for excellence in the performance of an aria composed after 1975, was awarded to English baritone Theodore Platt for his interpretation of an excerpt from George Benjamin’s Written On Skin.<\/p>\n\n\n\n

Introduced last year at Piano 2024, the Emerging Talent Jury Prize<\/strong>, worth $1,000, was awarded to Australian mezzo-soprano Fleuranne Brockway. The jury, presided over by Canadian soprano Aline Kutan, was made up of vocal students and a pianist, all from the city’s three major music institutions (McGill University’s Schulich School of Music, the Conservatoire de musique de Montr\u00e9al and the Universit\u00e9 de Montr\u00e9al’s Faculty of Music).<\/p>\n\n\n\n

\n
<\/div>\n\n\n\n
<\/div>\n<\/div>\n\n\n\n
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Theodore Platt<\/figcaption><\/figure>\n\n\n\n
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Fleuranne Brockway<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n

The final round of the M\u00e9lodie Prize was also held. Offered in partnership with the Nawacki Family Foundation, the $10,000 M\u00e9lodie Prize is awarded to the artist who has distinguished himself\/herself the most in the interpretation of the M\u00e9lodie repertoire during the First Round – M\u00e9lodie and its final. The five finalists were Russian soprano Julia Muzychenko-Greenhalgh, English baritone Theodore Platt, Colombian baritone Laureano Quant, Australian mezzo-soprano Fleuranne Brockway and French soprano Fanny Soyer. Laureano Quant won the award with a committed interpretation of excerpts from Francis Poulenc’s truculent Chansons gaillardes cycle, and a spirited performance of excerpts from Gerald Finzi’s Let Us Garand Brings cycle. The Colombian baritone was also awarded Salle Bourgie’s prestigious Schubert Prize, which comes with a recital engagement in the new series devoted to Franz Schubert’s complete lieder.<\/p>\n\n\n\n

For his part, Ihor Mostovoi (Canada and Ukraine)<\/strong> was awarded the Prix Andr\u00e9-Bachand for best interpretation of a Canadian work, presented in partnership with Claudette Hould for his interpretation of Julien Bilodeau’s \u201cMon souverain\u201d from the opera La beaut\u00e9 du monde, with libretto by Michel-Marc Bouchard.<\/p>\n\n\n\n

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Laureano Quant<\/figcaption><\/figure>\n\n\n\n
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Ihor Mostovo\u00ef<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n

Now it’s off to the Maison symphonique, where the semi-finalists and the MIMC team will be taking up residence for the next few days. With the level we’ve heard so far, we can’t wait to hear what the semi-finalists have to offer in an orchestral setting.<\/p>\n\n\n\n

photo credit\u00a0: Tam Photography<\/p>\n\n\n

Publicit\u00e9 panam<\/span>
<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

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