{"id":156897,"date":"2026-04-30T18:49:24","date_gmt":"2026-04-30T22:49:24","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/violons-du-roy-bernard-labadie-nous-presente-sa-saison-2026-2027\/"},"modified":"2026-05-02T16:35:48","modified_gmt":"2026-05-02T20:35:48","slug":"violons-du-roy-bernard-labadie-nous-presente-sa-saison-2026-2027","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/violons-du-roy-bernard-labadie-nous-presente-sa-saison-2026-2027\/","title":{"rendered":"Violons du Roy | Bernard Labadie Presents His 2026\u20132027 season"},"content":{"rendered":"\n

Jonathan Cohen\u2019s departure from the podium of Les Violons du Roy has led to the return of its founder, Maestro Bernard Labadie. For an indefinite period, he is once again serving as artistic director of Quebec City\u2019s most internationally renowned orchestra, staying true to its roots by featuring a substantial portion of Baroque music for the 2026\u20132027 season, alongside programs dedicated to more recent works\u2014from the 19th century to the present day, ranging from Jean-Philippe Rameau to Philip Glass. PAN M 360 had a long conversation with this distinguished musician, who proudly discusses his brand-new program.<\/strong><\/p>\n\n\n\n

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CLICK HERE TO VIEW THE SCHEDULE<\/strong><\/a><\/p>\n\n\n\n

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CLICK HERE FOR YOUR 2026\u20132027 SUBSCRIPTION<\/strong><\/a><\/p>\n\n\n\n

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PAN M 360: Mr. Labadie, it\u2019s a pleasure to speak with you again on behalf of PAN M 360. We\u2019ll start by discussing the 2026\u20132027 season, because there\u2019s a lot to cover! You officially presented this program on March 26 in Quebec City, but there wasn\u2019t much buzz about it in Montreal. It\u2019s never too late to do things right!<\/strong><\/p>\n\n\n\n

Bernard Labadie\u00a0: <\/strong>I’m really looking forward to doing this with you!<\/p>\n\n\n\n

PAN M 360: How would you describe this transition since you returned to the helm of Les Violons du Roy? We touched on this very briefly a few months ago.<\/strong><\/p>\n\n\n\n

Bernard Labadie\u00a0: <\/strong>\u00a0To maintain a sense of continuity, the core repertoire has remained unchanged.<\/p>\n\n\n\n

I would say that what you probably notice at first glance is that there may be a little more Baroque music than there has been in recent years. In other words, we\u2019re returning to a focus on what was the ensemble\u2019s original mission: performing 18th-century music, particularly the Baroque repertoire. This also means there\u2019s still a program dedicated to 20th-century music, and there\u2019s still Romantic music on the program as well. So it remains varied.<\/p>\n\n\n\n

To use academic terms, I\u2019d say we have a major in 18th-century music and a minor in other periods. So it\u2019s a very cohesive program. I\u2019d just say that the image is perhaps a little more focused, with a stronger emphasis on the group\u2019s core identity.<\/p>\n\n\n\n

We must also consider that we are showcasing our musicians\u2014in the broadest sense, meaning both our choristers and our instrumentalists\u2014more than ever before. We have many soloists from the orchestra who sometimes step out of our ranks to perform concertante works elsewhere. We have two programs with a choir, for example, where the vast majority of the solos are sung by members of the Chapelle de Qu\u00e9bec. So we really draw on the very foundation of who we are to offer the audience a musical panorama that, I think, reflects who we are. And I believe we are the only group capable of offering such a panorama with this particular specialty, if I may say so.<\/p>\n\n\n\n

PAN M 360: Over the years, this orchestra has evolved into a versatile ensemble\u2014and it remains so to this day!<\/strong><\/p>\n\n\n\n

Bernard Labadie\u00a0:<\/strong> It\u2019s both challenging and rewarding. For our musicians, being able to do something different during the season is important. It\u2019s worth noting that while the violins are primarily known for the 18th-century repertoire, they use modern instruments, so they have everything they need to perform later-period repertoire. Over the years, our musicians have developed this versatility, enabling them\u2014sometimes even within the same concert\u2014to shift from an older sound world to a more recent one, or even a thoroughly modern one.<\/p>\n\n\n\n

I\u2019d also like to point out that each of our musicians has three bows. First, they have a Baroque bow, which is used to play music from around 1750 and earlier\u2014a convex bow. They also have what is called a traditional or classical bow, used in the time of Mozart and Haydn, for what is known as the First Viennese School, roughly the second half of the 18th century and a small part of the 19th. This bow begins to resemble the modern bow, where the stick has become concave or perfectly straight\u2014a bow more powerful than the Baroque bow, yet retaining a lightness that the modern bow lacks. Finally, they all have a modern bow, which is thicker, allowing them to play with great consistency and with more power for modern concert halls. So all our musicians have these options in their instrument cases. So it\u2019s an extraordinary asset we have\u2014to be able, while consistently attracting an audience clearly interested in the 13th-century repertoire, to take them elsewhere, to keep their horizons open, and their minds open. So it\u2019s good for everyone, that\u2019s all.<\/p>\n\n\n\n

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PAN M 360: Now let\u2019s take a look at the program for the 2026\u20132027 season. First up is the opening concert, featuring Iestyn Davies singing Handel.<\/strong><\/p>\n\n\n\n

Bernard Labadie\u00a0: Iestin Davis<\/strong> is one of today\u2019s greatest countertenors, among those with the most distinguished careers. He has performed the major roles of Baroque opera at most of Europe\u2019s leading opera houses, not to mention the Metropolitan Opera, which is not known for hiring countertenors. He is in a class of his own. He has sung with us before, whether in Handel\u2019s Messiah or in Handel\u2019s oratorio Theodora. But this is the first time we are hosting him and allowing him to showcase the full range of his artistry. The program we are presenting is entirely devoted to Handel\u2019s heroes, whether from opera or oratorio. He put the program together entirely on his own; I didn\u2019t have to do a thing, which is very rare. The program landed in my computer\u2014everything was there, everything was perfectly planned out. I believe it will be a remarkable evening; we rarely have the opportunity to hear Baroque opera at this level. It will be a highlight of the season.<\/p>\n\n\n\n

PAN M 360: One of your favorites is the program presented in late November: Les Indes galantes<\/em> by Jean-Philippe Rameau.<\/strong><\/p>\n\n\n\n

Bernard Labadie\u00a0: <\/strong>We\u2019re going to focus on all the orchestral music from the opera *Les Indes galantes*. This is also music you never hear in concert. In Quebec, the Arion Baroque Orchestra performs this music from time to time. It\u2019s pretty much one of the only opportunities to hear Rameau\u2019s orchestral music. Rameau is a frustrating composer for me; he is one of my favorite 18th-century composers. He is a composer we consider as important as Bach, Handel, or Vivaldi. He is an immense genius, highly original, who wrote music that is unlike any other. My frustration stems from the fact that his true specialty is vocal music. He composed numerous operas that are masterpieces. However, to perform this vocal music, one must have instruments tuned to the correct pitch\u2014namely the French pitch used at the time, which is significantly lower than the current standard, and even lower than the Baroque pitch used by most recording artists. Our colleague and concertmaster, Pascale Gigu\u00e8re, has just returned from a tour in France where he performed a Rameau opera and the orchestra was tuned to 400 hertz. The Baroque pitch is 415 and the modern pitch is 440.<\/p>\n\n\n\n

So when singers are asked to perform Rameau in modern tuning, the pitch is very high. It\u2019s very, very difficult to sustain that pitch throughout those long operas. It sounds more strained; it has a timbre and texture that aren\u2019t what Rameau intended. For that reason, we\u2019ve performed very little Rameau with Les Violons du Roy, but his orchestral music can certainly be played on modern instruments if one has mastered all the challenges of French Baroque music\u2014a world unto itself. We are capable of doing so, and that is why we are dedicating an entire program to the orchestral music from a single Rameau opera\u2014about an hour and fifteen minutes of orchestral music. It is absolutely brilliant music! So, in one evening, we\u2019ll perform all the music from Les Indes Galantes, which is one of his best-known and most iconic operas. It\u2019s full of exoticism and a rich exploration of instrumental colors. We think our audience is in for a real treat.<\/p>\n\n\n\n

PAN M 360: For Christmas, your show is titled At Midnight Mass<\/em>, another one of your favorite shows from the upcoming season.<\/strong><\/p>\n\n\n\n

Bernard Labadie\u00a0: <\/strong>\u00a0For Christmas, we will present a program dedicated to the music of Charpentier, the centerpiece of which will be his famous Midnight Mass, which has been performed by countless choirs around the world, far beyond the French-speaking world. It is truly a Christmas music classic, characterized by its use of several popular hymns, some of which are well-known but are still sung in our churches today. It is something very original and very enjoyable, which will be preceded by a magnificent Christmas oratorio in Latin, also by Charpentier, celebrating the birth of Jesus\u2014truly a work of great maturity. And then we\u2019ll spice things up with instrumental Christmas pieces by Michel Corrette, a composer of the late Baroque period like Rameau. His music is simpler than Rameau\u2019s, but extremely effective.<\/p>\n\n\n\n

So, that makes two major programs of French Baroque music in our season, and that has never happened before in the history of Les Violons du Roy.<\/p>\n\n\n\n

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PAN M 360: Among the highlights of the upcoming season, you\u2019ve selected the program dedicated to Philip Glass.<\/strong><\/p>\n\n\n\n

Bernard Labadie\u00a0:<\/strong> The great American minimalist composer will turn 90 next season. Salle Bourgie in Montreal is dedicating a special event to him next season and has asked us to take part in this celebration in January, under the baton of Thomas-Leduc Moreau, a highly talented young Montreal conductor with whom the orchestra collaborates regularly, as well as pianist Elisabeth Pion in the Piano Concerto No. 3. There will also be music by Arvo P\u00e4rt, whose work on the program is literally a tribute to Mozart.<\/p>\n\n\n\n

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PAN M 360: Another one of your favorites, Henry Purcell\u2019s opera Dido and Aeneas<\/em>.<\/strong><\/p>\n\n\n\n

Bernard Labadie\u00a0:<\/strong>\u00a0 This is something I\u2019ve been looking forward to for a long time\u2014it\u2019s an opportunity to perform this work again, a work that\u2019s very important to me. It\u2019s the piece that convinced me to become a conductor; it was the first work I ever conducted, back in February 1983, with a group of students from Laval University. I was 19 at the time, and my colleagues were all about the same age. We performed the concert version of Dido and Aeneas, which has remained very dear to my heart. I performed it again during the second season of Les Violons du Roy. And I haven\u2019t conducted it since 1987. I was supposed to conduct it in 2015, but unfortunately I was hospitalized following the cancer that struck me in 2014. It was Richard Egarr, the great Baroque conductor, who stepped in for me then. So I haven\u2019t conducted Dido and Aeneas since 1987, even though it\u2019s a work I know by heart\u2014a seminal work for my career and also for Les Violons du Roy. I\u2019ll finally return to it in late April or early May 2027.The role of Dido is one of the first major roles in Baroque opera, and we\u2019ll be joined by Canadian mezzo-soprano Ema Nikolovska<\/strong>, a young singer whose career is on the rise. And it\u2019s a role tailor-made for her. It\u2019s going to be a truly extraordinary evening. The role of Aeneas, though less prominent, will be sung by Canadian baritone Tyler Duncan<\/strong>. There are several smaller roles in this opera, all performed by members of the Quebec City Chapel.<\/p>\n\n\n\n

PAN M 360: In June, another of your top picks: Bach in Celebration!<\/strong><\/p>\n\n\n\n

Bernard Labadie\u00a0:<\/strong> We\u2019ll wrap up the season with this treat that\u2019s going to make me very happy\u2014and our audience, too. You may have noticed that in all the highlights of the upcoming season I\u2019ve just mentioned, there\u2019s no Johann Sebastian Bach\u2014which is completely unusual for Les Violons du Roy. Instead, we\u2019re concluding with a program that is actually a collection of concertos featuring a wide variety of instrumentations: the Triple Concerto in A minor, BWV 1044, which brings together flute, violin, and harpsichord; the magnificent Concerto for Oboe d\u2019amore in A major, featuring the extraordinary English oboist Sasha Calin; the Brandenburg Concerto No. 3 in G major, the Concerto for Three Violins in D major, BWV 1064 (Pascale Gigu\u00e8re, Katya Poplyansky, No\u00eblla Bouchard), and a reconstruction of the Concerto for Three Harpsichords.<\/p>\n\n\n\n

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PAN M 360: Any other must-haves?<\/strong><\/p>\n\n\n\n

Bernard Labadie\u00a0: <\/strong>\u00a0I should mention the guest conductors. First, Maurice Steger<\/strong>, whom our audience knows very well as a flutist\u2014arguably the greatest living virtuoso on the recorder. However, Maurice is increasingly devoting himself to conducting. He put together a program with Les Violons du Roy a few years ago, and I was very impressed by him in his role as conductor. So, we\u2019re bringing him back with us in October, and he\u2019ll be conducting exclusively, in a program devoted to late Baroque music and music from the mid-18th century.<\/p>\n\n\n\n

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And then, in March 2027, for the first time, we will welcome the English conductor Paul Agnew<\/strong>, who first made a name for himself as a tenor. He has an extensive discography, having recorded a great deal of French music and Bach cantatas in particular. However, he has now become a conductor; he works closely with the ensemble Les Arts Florissants in France and will be coming to us to give a concert entirely devoted to music from the Classical period\u2014Mozart, Haydn, Boccherini, and Salieri.<\/p>\n\n\n\n

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I would also like to highlight a program dedicated to French music in April 2027\u2014one of those programs that ventures beyond the orchestra\u2019s usual repertoire, focusing on the second half of the 19th century and even the early 20th century, with works by Tournier, Saint-Sa\u00ebns, Massenet, Faur\u00e9, Debussy, and Poulenc. The guest artist will be H\u00e9l\u00e8ne Guillemette,<\/strong> a remarkable soprano well known to our audience, and the orchestra will be conducted by the Anglo-American conductor Johann Stuckenbruck<\/strong>.<\/p>\n\n\n\n

JI can\u2019t mention every program, but I mustn\u2019t forget the great mandolinist Avi Avital, whom our audience had the chance to discover a few years ago and who is truly the superstar of the mandolin right now. He\u2019ll be returning to us in February 2027 for a program entirely devoted to Baroque music, featuring, of course, plenty of music for mandolin and orchestra. He will conduct the orchestra himself, so he\u2019ll be back for concerts in Quebec City and Montreal. So there you have it\u2014that\u2019s another highlight of our season. There\u2019s one more thing to mention that\u2019s very important to us because it\u2019s a series to which we devote a lot of effort and resources. For audiences in Quebec City, we have the Ap\u00e9ro Series, where our musicians perform chamber music concerts at the Palais Montcalm\u2014not in the main hall, but rather in the smaller D\u2019Youville Hall. It\u2019s a format with about 150 seats, where people can come for a drink and some appetizers at cocktail hour while listening to our musicians, who have put together a very interesting chamber music program drawn from our repertoire. The first program is dedicated to Baroque music, the second to Classical music, the third to the Romantic period and the early 20th century, and the season concludes with a concert dedicated to the world of tango. These concerts are very popular in Quebec City. The audience is close to the musicians; it\u2019s a way to discover Les Violons du Roy in a new light. It\u2019s an exceptional opportunity for the musicians to showcase their talents.<\/p>\n","protected":false},"excerpt":{"rendered":"

Jonathan Cohen\u2019s departure from the podium of Les Violons du Roy has led to the return of its founder, Maestro Bernard Labadie. For an indefinite period, he is once again serving as artistic director of Quebec City\u2019s most internationally renowned orchestra, staying true to its roots by featuring a substantial portion of Baroque music for […]<\/p>\n","protected":false},"author":36,"featured_media":156884,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false},"categories":[4628],"tags":[],"genre":[3086,8055,8112,8339],"class_list":["post-156897","interviews","type-interviews","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-en","genre-baroque-2","genre-classique-2-en","genre-periode-moderne-en","genre-periode-romantique-en"],"acf":[],"yoast_head":"\nViolons du Roy | Bernard Labadie Presents His 2026\u20132027 season - PAN M 360<\/title>\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\/interviews-panm360\/violons-du-roy-bernard-labadie-nous-presente-sa-saison-2026-2027\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Violons du Roy | Bernard Labadie Presents His 2026\u20132027 season - PAN M 360\" \/>\n<meta property=\"og:description\" content=\"Jonathan Cohen\u2019s departure from the podium of Les Violons du Roy has led to the return of its founder, Maestro Bernard Labadie. 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