{"id":167402,"date":"2026-10-30T10:58:02","date_gmt":"2026-10-30T14:58:02","guid":{"rendered":"https:\/\/panm360.com\/gig_review\/guillaume-cote-grands-ballets-canadiens-montreal-songes-nuit-ete-critique-review\/"},"modified":"2026-10-30T11:01:32","modified_gmt":"2026-10-30T15:01:32","slug":"guillaume-cote-grands-ballets-canadiens-montreal-songes-nuit-ete-critique-review","status":"publish","type":"gig_review","link":"https:\/\/panm360.com\/en\/gig_review\/guillaume-cote-grands-ballets-canadiens-montreal-songes-nuit-ete-critique-review\/","title":{"rendered":"Guillaume C\u00f4t\u00e9 bewitches the Grands Ballets and the Montreal audience"},"content":{"rendered":"\n<p class=\"has-medium-font-size wp-block-paragraph\">There was enthusiasm during the unveiling of the 26-27 season of Les Grands Ballets Canadiens. We were presented with a certain excitement the upcoming collaboration with Guillaume C\u00f4t\u00e9, former principal dancer of the National Ballet of Toronto, choreographer and creator of <em>The Little Prince<\/em>, which was beautifully received during its premiere, also in Toronto. Above all, this first commission given to the Quebecer was a reinterpretation of Shakespeare&#8217;s <em>A Midsummer Night&#8217;s Dream<\/em>, a story full of magic, ideal for a ballet.<br><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Les Songes d&amp;apos;une nuit d&amp;apos;\u00e9t\u00e9 de Guillaume C\u00f4t\u00e9 | Extrait Publicitaire\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/TNLGzZSXpFc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Let me immediately show my colours: I loved the result. C\u00f4t\u00e9 enchanted the Montreal troupe, and consequently, the audience that filled the Wilfrid-Pelletier hall.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">In <em>A Midsummer Night&#8217;s Dreams<\/em> (plural &#8211; for more understanding, see the interview I conducted with him <a href=\"https:\/\/panm360.com\/en\/interviews-panm360\/guillaume-cote-songes-nuit-dete-midsummer-might-dreams-brands-ballets-canadiens-montreal-interview\/\"><strong>HERE<\/strong><\/a>), C\u00f4t\u00e9 constructs a polyphonic choreography, filled with fluttering and swirling ensembles, almost non-stop (there are a few duets, including a rather extensive one between Titania and Oberon).<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">There is also a lot of humour, which the Shakespearean story allows amply, it must be said. But C\u00f4t\u00e9 handles irony and certain flamboyances with precision. The show is clearly divided into two parts, well delineated in terms of temperament. The first part is bathed in joy and love buzzing around. A truly juvenile, good-natured lightness is expressed through swirling and airy acrobatics, where no character knows how to stay in one place. Perfect embodiment of the fairy-tale and carefree universe imagined by Shakespeare. The second part is more dramatic, darker, but without losing its charm or its attractive character. I would even go further, if the first half is exciting (invigorating choreography, vital energy of the staging, etc.), the second half is emotionally powerful, especially in its symbiosis with the music (I will come back to this).<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><a href=\"https:\/\/grandsballets.com\/en\/performances\/detail\/midsummer-night-dreams\/\"><strong>TICKETS AND INFORMATION<\/strong><\/a><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">But before continuing, let&#8217;s summarise: the marriage of Hermia and Demetrius brings together the entire community of the magical world of Titania and Oberon, Hermia&#8217;s parents. But the loves of those around the couple are quite free (and not heteronormative &#8211; that&#8217;s Guillaume C\u00f4t\u00e9&#8217;s personal touch), and they even end up affecting Hermia and D\u00e9m\u00e9trius. This does not please Queen Titania, a rather solemn and conservative character, who orders Maya (a gently mischievous character, and the female counterpart of Shakespeare&#8217;s Puck) to use a magical flower on Hermia and Demetrius that makes them fall in love. But of course, it spirals out of control and the entire assembly ends up living in a whirlwind of ephemeral and multiple relationships, regardless of sex or gender. Unlike the original play where good manners are eventually restored to their precedence, here, it is Titania who ends up softening and allowing her &#8220;children&#8221; to live a little as they wish.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">That is the narrative context. Let&#8217;s get back to the show itself. C\u00f4t\u00e9 says he has an intimate affinity with music. I confirm that it is true, and that the result on stage is all the more captivating. The choreographer uses music by Felix Mendelssohn (1809-1847), especially the symphonies no. 3 &#8220;<em>Scottish<\/em>&#8221; and no. 4 &#8220;<em>Italian<\/em>,&#8221; for melodic and dynamic reasons, as these irresistible masterpieces, even though they were never designed for movement, are intrinsically danceable. Also because Mendelssohn wrote famous music in the classical repertoire for <em>A Midsummer Night&#8217;s Dream<\/em>. From this score, which has its own magic, C\u00f4t\u00e9 only uses the <em>Wedding March<\/em> (which everyone knows!). Why not the rest? C\u00f4t\u00e9 explains all of this in the interview&#8230;<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><a href=\"https:\/\/panm360.com\/en\/interviews-panm360\/guillaume-cote-songes-nuit-dete-midsummer-might-dreams-brands-ballets-canadiens-montreal-interview\/\"><strong>READ THE INTERVIEW WITH GUILLAUME C\u00d4T\u00c9<\/strong><\/a><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">It is enough to say that the use of Mendelssohn&#8217;s two most popular symphonies works perfectly, especially in the choices of organic transitions between the various parts of the works, played out of order, to meet the imperatives of narrative efficiency rather than musicological coherence. In the first part, tinged with mischief, flexibility and agility, it is the <em>Italian Symphony<\/em> that dominates. Rightly so, as the bouncy rhythms and the sunny character of the music perfectly match the theme and the staging. We are inundated with a bubbling agitation, but above all, a smiling one. The general pleasure is palpable, and it ends with Maya&#8217;s intervention and her magical flower. The mischievous spirit cannot help but enchant the entire assembly, rather than just the two newlyweds.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">The second part establishes a paradigm shift. A nocturnal scene unfolds. The play of lights, the generous Moon in the background, and the protagonists immersed in a second state, enchantingly dreamlike, are beautifully accompanied by suggestive, impressionistic, and cinematic music. Satie (<em>Gymnop\u00e9die<\/em> orchestrated by Debussy) gently seduces, but it is especially Max Richter with <em>November<\/em> who embraces the entire room and the twilight characters with their endless claw-like fingers (but not at all threatening &#8211; kudos to costume designer R\u00e9mi van Bochove) in his sumptuous and powerfully emotional embrace. A moment of Hollywood creative communion, certainly, but devilishly effective. A few chills, be warned.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Also, I don&#8217;t want to forget the contribution of Montrealer Tommy Lunaire, with an electro-orchestral score tinged with Glassian Minimalism, which also at times recalls the expressive force, rhythmic vitality, and melodic beauty of Daft Punk&#8217;s techno-symphonic masterpiece, <em>Tron Legacy<\/em>. Lunaire is more impressionistic, certainly, and that suits the context perfectly. We may have discovered a future collaborator for the Montreal symphony, like Apache a few weeks ago? The young composer certainly has the potential for it.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">The penultimate scene features a classically romantic pas de deux (to the <em>Adagio<\/em> from the <em>Scottish Symphony<\/em>) between Titania and Oberon, in which the king is enchanted by Titania. She reproaches him for his general apathy in the face of the situation. But his fate will have unexpected effects: Oberon enters a kind of psychedelic trance that reveals his more eccentric sides to his wife. The most striking episode, visually, is part of this scene: under strobe lights, an insectoid creature appears. Oberon falls in love with her and finally loosens Titania, who realises that her relational rigidity only suffocates everyone around her.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Hats off to the designer Patrick Martel. The creature is magnificent and will remain etched in our minds. Kudos also to the puppeteer who handles it, instilling it with a very natural gait and a credible stage presence.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">The finale brings everyone together, in a community calmed by less social rigidity and more freedom.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Maude Sabourin embodies a suitably imperial Titania, while Thomas Leprohon manages to make us believe in this sometimes clumsy and awkward Oberon, a bit reserved, but ultimately unrestrained. Ana\u00efs Roy, Antoine Benjamin Bertran, Aurora de Mori, Roddy Doble, Maeva Marcolini-Bowes, C\u00e9lestin Boutin (who respectively portray Hermia, Demetrius, Helena, Lysander, Clara, and Ethan) bring the characters to life with the desired freshness and fervour. Sometimes, certain characters are confused due to slightly too similar costumes.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">The Grands Ballets orchestra performs nicely, with adequately brisk tempos in the Mendelssohn pieces, under the baton of Dina Gilbert.&nbsp;<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><em>Midsummer Night\u2019s Dreams<\/em> by Guillaume C\u00f4t\u00e9 is a superb production, a moment of magic and enchantment that will stay in my memory for a long time. The bar is now set very high for the rest of the season.<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><a href=\"https:\/\/grandsballets.com\/en\/performances\/detail\/midsummer-night-dreams\/\"><strong>TICKETS AND INFORMATION<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>There was enthusiasm during the unveiling of the 26-27 season of Les Grands Ballets Canadiens. We were presented with a certain excitement the upcoming collaboration with Guillaume C\u00f4t\u00e9, former principal dancer of the National Ballet of Toronto, choreographer and creator of The Little Prince, which was beautifully received during its premiere, also in Toronto. Above [&hellip;]<\/p>\n","protected":false},"author":775,"featured_media":167401,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false},"categories":[8152],"tags":[],"genre":[3155,3117,3237,8339],"salle":[7078],"ville":[7246],"class_list":["post-167402","gig_review","type-gig_review","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques-de-concerts-en","genre-electronic","genre-modern-classical","genre-neoclassical","genre-periode-romantique-en","salle-salle-wilfrid-pelletier-en","ville-montreal-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Guillaume C\u00f4t\u00e9 bewitches the Grands Ballets and the Montreal audience - PAN M 360<\/title>\n<meta name=\"description\" content=\"Les Songes de Guillaume C\u00f4t\u00e9 est une superbe r\u00e9ussite, un moment de magie et d\u2019enchantement qui restera dans ma m\u00e9moire longtemps.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/panm360.com\/en\/gig_review\/guillaume-cote-grands-ballets-canadiens-montreal-songes-nuit-ete-critique-review\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Guillaume C\u00f4t\u00e9 bewitches the Grands Ballets and the Montreal audience - 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