lsm11-6 ayout

sm17-6_EN_p01_Cover_sm17-6_FR_pXX 12-03-05 1:40 PM Page 1
sm17-6_EN_p02-03_TOC-Editorial_sm17-2_FR_pXX 12-03-05 2:37 PM Page 6
CONTENTS
7
8
10
11
25 Summer camps guide
28 JAZZ SECTION » The Many Faces of the Bass
32 Interview with Oliver Berliner,
grandson of the inventor of the gramophone
34 VARIATIONS ON A THEME
Stravinsky’s Petrushka
35 DISCOVERY CD
Stravinsky conducts Stravinsky
36 Violinist Lara St. John
38 REVIEWS
PHOTO Jacques Cabana
14
16
17
18
19
NOTES » News in brief
MUSICULTURE » Musical entrepeneurs
A 10-DVD box set on Glenn Gould
CALENDAR COVER »
Jean-Michaël Lavoie
Pianist Louise Bessette » 30 years of music
Garage à musique
Quebec’s youth orchestras
REGIONAL CALENDAR
CONCERT PREVIEWS
MARCH 2012
THE EXPERIMENTALISTS
SIXTRUM
FOUNDING EDITORS
Wah Keung Chan, Philip Anson
La Scena Musicale VOL. 17-6
MARCH 2012
PUBLISHER
La Scène Musicale
EDITOR-IN-CHIEF
Wah Keung Chan
BOARD OF DIRECTORS
Wah Keung Chan (pres.), Iwan
Edwards, Holly Higgins-Jonas,
Sandro Scola, CN
ADVISORY COMMITTEE
Gilles Cloutier, Pierre Corriveau,
Maurice Forget, C.M., Ad. E, David
Franklin, Ad. E, Margaret Lefebvre,
Stephen Lloyd, Constance V. Pathy,
C.Q., E. Noël Spinelli, C.M., Bernard
Stotland, FCA
2
MANAGING EDITORS
Laura Bates, Crystal Chan
CONTENT EDITOR
Caroline Rodgers
JAZZ EDITOR
Marc Chénard
ARTISTIC DIRECTOR
Adam Norris
GRAPHICS
Rebecca Anne Clark
Production: [email protected]
COVER PHOTO
Alain Lefort
OFFICE MANAGER
Julie Berardino
SUBSCRIPTIONS & DISTRIBUTION
COORDINATOR
Conor O’Neil
MARCH 2012
SIXTRUM is
Montreal’s only
regularly performing professional
percussion group and
one of its most innovative
ensembles; it successfully
converts listeners to the medium in part because its
shows often intertwine
music with theatre, video,
and even dance.
REGIONAL CALENDAR
Eric Legault, Etienne Michel
WEBSITE
Normand Vandray, Michael Vincent
BOOKKEEPERS
Kamal Ait Mouhoub,
Mourad Ben Achour
ADVERTISING
Smail Berraoui, Marc Chénard,
Morgan Gregory / ads.scena.org
CONTRIBUTORS
Lorena Jiménez Alonso, Renée
Banville, Frédéric Cardin, Éric
Champagne, Marie-Astrid Colin,
Félix-Antoine Hamel, Annie Landreville, Michèle-Andrée Lanoue,
Alexandre Lazaridès, Alain Londes,
Philippe Michaud, Paul E.
Robinson, Jean-Pierre Sévigny,
4
Jacqueline Vanasse
TRANSLATORS
Rebecca Anne Clark, Jérôme Côté,
Lindsay Gallimore, Elisabeth
Gillies, Dayna Lamothe, DavidMarc Newman, Rona Nadler, Karine
Poznanski
VOLUNTEERS
Wah Wing Chan, Marie-Astrid
Colin, Lilian I. Liganor, Michel
Zambrano, Christine Lee
ADDRESSES
5409, rue Waverly, Montreal
(Quebec) Canada H2T 2X8
Tel. : (514) 948-2520
Fax: (514) 274-9456
[email protected] / www.scena.org
Ver: 2012-2-27
© La Scène Musicale.
SUBSCRIPTIONS
Surface mail subscriptions (Canada) cost $42
/ yr (taxes included) to cover postage and
handling costs. Please mail, fax or email your
name, address, telephone no., fax no., and
email address. Donations are always welcome
and are tax-deductible. (no 14199 6579
RR0001).
LA SCENA MUSICALE, published 10 times per
year, is dedicated to the promotion of classical
and jazz music. Each edition contains articles
and reviews as well as calendars. LSM is published by La Scène Musicale, a non-profit organization. La Scena Musicale is the Italian
translation of The Music Scene. All rights reserved. No part of this publication may be reproduced without the written permission of LSM.
ISSN 1927-3878 Print English version
(La Scena Musicale).
ISSN 1927-3886 Online English version
Canada Post Publication Mail Sales Agreement
No.40025257
sm17-6_EN_p02-03_TOC-Editorial_sm17-2_FR_pXX 12-03-05 2:37 PM Page 7
I
editorial
t’s incredible how much music and song can convey
emotion and romance. This Valentine’s Day, La Scena
Musicale helped spread romantic cheer over the telephone through our second annual Singing Valentines
fundraiser. Seven singers, including the Atelier lyrique
of the Opéra de Montréal's Karine Boucher, Frédérique Drolet,
Emma Parkinson, Isaiah Bell and Jean-Michel Richer—who all
took time out of their busy rehearsal schedule for this month’s
production of Rossini and his Muses: The Big Banquet—
Priscilla-Ann Tremblay, and yours truly serenaded 25 valentines
over the phone. Thanks again to our volunteer singers (see the
ad on page 37 and visit their websites).
This year, each singer chose their own songs. Selections included O mio babbino caro and Che gelida manina. Most of the
songs were delivered with piano accompaniment by pianist Tina
Chang, Claude Webster and Marie-Ève Scarfone of the Atelier
lyrique and Rachel Martel (Tremblay). I can tell from the four
calls I made that this was a special experience for the valentine.
We are also offering greetings for birthdays as well as for
Mother’s Day. To order a song or to be volunteer singer, please
email [email protected]
We also want to thank those people who generously contributed to the February 26th Tea and Trumpets Fundraiser hosted
by Margaret Lefebvre and Ronald Walker, featuring Paul
Merkelo, first trumpet of the OSM and pianist Alexandre Vovan.
Watch for pictures in the April issue.
Violin, piano, voice: they're the holy trinity of classical music,
and La Scena Musicale has kept you informed about the masters
of these instruments. Such stars to look forward to in this issue
include Lara St. John and Louise Bessette.
We're pleased to also shine a spotlight on under-discussed
classical instruments in this edition with a cover feature on
Sixtrum, one of Canada's most inventive
percussion ensembles.
Young musicians and their parents will
find handy info in our Annual
Summer Music and Arts Camps
Guide. There are also inspiring pieces
on the Association des orchestres de
jeunes du Québec music festival and
Garage à musique, a music education
DISCOVERY CD
organization based in Montreal.
SUBSCRIBER'S BONUS:
all LSM subscribers will
Add to this mix a calendar cover
receive a disc of Igor Straprofile of the talented Jean-Michaël
vinsky's Petrushka, conducLavoie, a pianist as well as conductor
ted by the composer himself
who will take the podium with the
(courtesy of Espace 21).
Orchestre symphonique de Québec,
and much more, including all of our
recurring jazz, calendar, and review features, and you have a
jam-packed read ahead of you.
Have a great musical March!
WAH KEUNG CHAN,
Founding editor
MARCH 2012
3
by CRYSTAL CHAN
If they’re orchestral timpanists,
they can often receive the secondhighest paycheque in an orchestra. Yet
percussionists do not exactly hold a high
profile. Music buffs that can list off dozens of
working string, woodwind and vocal musicians
can usually name few percussionists beyond Les
Percussions de Strasbourg or Evelyn Glennie. As
Robert Leroux, the head of Université de
Montréal’s percussion department, puts
it, many people do not even seem
aware of contemporary percussion
beyond “everybody naked in the
woods playing djembe.”
4
MARCH 2012
PHOTOS Alain Lefort
sm17-6_EN_p04-06_Sixtrum_sm17-6_FR_pXX 12-03-05 2:38 PM Page 4
sm17-6_EN_p04-06_Sixtrum_sm17-6_FR_pXX 12-03-05 2:38 PM Page 5
PHOTO Andrew Dobrowolskyj
O N T H E C OV E R
In the western classical music timeline, percussion ensemble music
is relatively new. The first compositions in the genre were written in
the 1920s and the premiere of Edgard Varèse’s Ionisation in 1933 marked an important turning point. Leroux, together with McGill
University percussion professor Fabrice Marandola, noticed that even
some of their students seemed less and less interested in contemporary percussion beyond djembe. So, along with D’Arcy Gray, Julien
Grégoire, Philip Hornsey, and Kristie Ibrahim, they started their own
percussion ensemble to showcase the medium (in 2009 João Catalão
replaced Gray, who left to teach at Dalhousie University, and in 2010
Sandra Joseph replaced Leroux, who now focuses on the group’s administration). Sixtrum is Montreal’s only regularly performing professional percussion group and one of its most innovative ensembles; it
successfully converts listeners to the medium in part because its shows
often intertwine music with theatre, video, and even dance. The indemand ensemble performed close to eighty times just last season.
A large part of that is new music. “As soon as we started Sixtrum so
many composers knocked at the door,” Marandola explains. This
spring they will premiere pieces by Brian Cherney and Chris Paul
Harman with VivaVoce and next season they have pieces coming by
Philippe Leroux, Robert Normandeau, and Laurie Radford. Soon they
will send out a call for pieces by Montreal-based composition students.
Once they have comissioned something, Sixtrum works closely with
composers, often spending hours demonstrating instruments and
playing drafts. “We want to increase everyone’s [knowledge] of how to
write for percussion,” says Marandola. Composers are often new to the
medium; writing for sextet is already a challenge. “Composers know
how to write for four, whatever instrument it is. Same thing with quintets. But they have to think harder for six,” Marandola says.
Leroux describes another common problem: “You fill a stage with
instruments and we play it once. Or you try to exploit less instruments
but go further with them and you’ve got good chances that we take it
on tour.” He adds with a laugh: “There were pieces where the stage was
so full that we said to the composer: ‘You better listen hard because
this is the last time you’re gonna hear it!’” Fabrice agrees, adding that
this stems from the fast expansion of what counted as a percussion instrument, something that started in earnest in the mid-20th century and,
originally, a very positive thing. “For a long time what was new in per-
cussion was adding more and more instruments and now we have
almost any sound we can imagine,” he says. “Anything becomes a percussion instrument. Okay, that’s done. What can we do next?”
Performance practice
For Sixtrum, the answer lies in expanding not only what constitutes a
percussion instrument but what constitutes musical performance altogether. Its musicians are not only open to new sounds, including electronics, but also to compositions that work in extra-musical elements.
Take their collaboration with Jean Piché. That resulted in video-music
pieces where the percussionists control not only the sound but also the
images projected behind them.
The ultimate goal is to put the ‘performance’ back into ‘musical performance.’ Leroux decries the “disconnect between the musicians and
the context, the music you hear and the attitude” at many classical
music concerts. “You wonder if they’re thinking about the music or
about how they forgot to put out food for the cat!” He drops a pen,
fumbles with his shirt collar, and sniffles in demonstration of what
often happens when a piece or a movement is over and, as Leroux puts
it, “musicians become civilians on stage.” To avoid this, Sixtrum abides
by the mantra that audiences are “going to a concert to see, not just to
listen.” They take cues from pop; “In rock, the show is not divided between the pieces. The show starts and ends and there were pieces in it,”
says Leroux. Likewise for Sixtrum, “everything we do from the minute
we’re on stage is included in the show.” The players work hard to create
setups that are visually as well as musically engaging. On top of the
actual pieces, they rehearse set-up and stage demeanor.
And like a theatre or dance troupe, Sixtrum employs a director:
Michel G. Barette, a veteran who has worked with everyone from the
Cirque du Soleil to filmmaker Francis Ford Coppola. Since staging
Mauricio Kagel’s Exotica for Sixtrum, Barette has worked on most of
their shows. This includes their last one, which centred around the
theme of ‘gesture.’ One of its pieces didn’t even involve instruments or
much sound: Thierry de Mey’s Pièce de gestes is a seven-minute ballet for five pairs of hands. Sixtrum claims this attention to movement
has made them better players of every kind of music, even the more
traditional. Theatrical coaching has taken the synchronization and
communication between the ensemble members to a whole new level.
MARCH 2012
5
sm17-6_EN_p04-06_Sixtrum_sm17-6_FR_pXX 12-03-05 2:38 PM Page 6
O N T H E C OV E R S I X T R U M
CLOCKWISE FROM TOP LEFT: Grégoire, Leroux,
Catalão, Marandola, Ibrahim, Hornsey, Joseph
videos, a podcast. It’s even sparked international dialogue. “When we
had composers visiting we’d do interviews,” Marandola explains.
“Now we have lots of people writing us because that’s the only reference
that they have of these composers speaking about these pieces. So all
the percussionists around the world who are doing these pieces are
coming to us for expertise on this—even if we’re not the only ones who
have done it. But we’re the only ones that documented it.”
All this is part of an effort to foster community. “They might like the
music but one of the reasons that people don’t come to serious contemporary classical concerts is because they don’t feel they belong there,”
says Leroux. “With rock or pop it’s not only music: it’s a social belonging thing, it’s a sense of having fun.” This is especially important since,
as La Grande Tortue is such a hit with kids, they now want to put together something aimed at teenagers. “Young people that [they’ve] never
seen” make up some of their favourite audience members, says
Marandola. “And a lot of the time what seems to make them click is
‘you seem to have so much fun doing that!’ We hear that every night.”
PHOTO Alain Lefort
From fringe to fun
La Grande Tortue also bears an unmistakably theatric stamp.
This 50-minute co-production with Jeunesses musicales premiered in 2009 and incorporates music by the ensemble members as well as David Downes, Steve Reich, Emmanuel
Séjourné, Denis Dionne, Larry Spivack, and Mirama Young.
It’s a family-friendly show where the musicians not only
play a huge assortment of percussion instruments—everything from bass drum and marimba to clay pots and
hang, a sort of inverted steel drum which, with hexagonal shell lines drawn on its surface and a green
maraca stuck on it as a ‘head,’ represents the titular
turtle—they also pop paper bags between their hands
(Spivack’s Music for Paper Bags), battle with bamboo
sticks (Downes’ Painting With Breath), and act and narrate
a text written by Marandola and Barette based on traditional
creation myths. La Grande Tortue is a musical medley of theatre,
foley, and dance. In it, the ‘turtle’ explores and creates our world and
all its elements and inhabitants. There are faint echoes here of Sixtrum
itself: hexagons, exploration, creation.
This is Sixtrum’s recipe: never compromise on the quality of the music
but put on a great show. A programmer in Vancouver summed it up
when they told Sixtrum: “You are exactly what we are looking for
because you’re delivering music which is very high quality but extremely accessible.” Neither new music nor percussion music is inherently
cold or academic. Sixtrum overturns these preconceived notions by,
well, never giving up on having fun—and showing it. They are beginning to perform for corporate settings, for example, and when they sent
such a client a tape of music by Iannis Xenakis with the
flat-out explanation that this was what they were
playing, the response—from people who might
otherwise never attend a contemporary percussion concert—was a resounding ‘wow.’ “Even in
the classical music world people have this
conception of percussion as this weird thing,”
adds Marandola.
Overlooked and ‘weird,’ percussionists
may yet be the ones laughing at the end.
They might be closer to unlocking the key to
a new generation of classical music listeners
than big name orchestras or string quartets. As
Sixtrum proves, the percussion ensemble is a
great introduction to experimental music as it
- LEROUX
lends itself so well to visuals and multidisciplinary
performance. The heart of the matter, however, is
musical open-mindedness. “Percussion is a good soil for experimentation because they are by tradition the guys that do all the strange
things,” says Leroux. “A slide whistle in an orchestra: they won’t give
it to the flutist; they give it to the percussionist. A musical saw: they
don’t ask the cello player to play that, no no no! They give it to the percussionist. It’s such a wide palette of sounds. We do almost anything—
so there’s something for everybody to love.”
LSM
“Percussion is
a good soil for
experimentation
because they are by
tradition the guys that
do all the strange
things.”
Musical belonging
The ensemble believes that such innovation is key to cultivating new
contemporary classical music fans. Never content to let the same ‘new
music’ crowd come to them, they actively seek out fresh audiences.
They play Maisons de la culture, a network of Montreal community
centres that offer free shows. Leroux recalls one performance at the
Ahuntsic Maison de la culture: “I looked and it was only grey and white
hair coming in. I said, ‘Oh boy, they’re in for a treat.’ But we had a standing ovation! They loved it. They’re the people who started writing
comments on our website saying: ‘When are you coming back?’”
Sixtrum has a heavy online presence, complete with blog posts,
6
MARCH 2012
Sixtrum is in concert this spring on:
• March 7th-April 22nd, La Grande Tortue / How Great Turtle Rebuilt the World,
Montreal area (Montréal Nord, LaSalle, Ahuntsic, Salle Bourgie at the Montreal Museum of Fine Arts) and Mississauga, ON
• May 4th, 7:30pm, with Ensemble VivaVoce in a John Cage anniversary concert at
Redpath Hall
www.sixtrum.com
sm17-6_EN_p07_Notes_sm17-6_FR_pXX 12-03-05 2:38 PM Page 7
N TES
a historical biopic about 19th-century Italian
violin virtuoso Niccolò Paganini. The film,
which has a budget between $15-20 million, is
slated to begin filming in August throughout
Europe. “It has been a lifelong ambition to be
involved in a film about my hero Niccolò PaLJA
ganini,” said Garrett.
Paul Watkins joins
Emerson String Quartet
Classical music at the
Grammys and Junos
The latest edition of the Grammy Awards honoured the artists of classical music. Gustavo
Dudamel and the Los Angeles Philharmonic
by LORENA JIMÉNEZ ALONSO,
took home the trophy for orchestral music for
CRYSTAL CHAN & PHILIPPE
their recording of Brahms’ Symphony
MICHAUD
No. 4. The award for Best Opera
Festival d’opéra de Québec Recording went to John
Adams’ Doctor Atomic.
and Met co-produce opera
The Junos will take place on
Le Festival d’opéra de Québec and the MetroApril 1, 2012. Several Québécois
politan Opera have announced that they will
artists have been nominated, inwork together to co-produce a new opera dicluding Yannick Nézet-Séguin
rected by Robert Lepage: The Tempest by
and the Orchestre MétroThomas Adès. The opera, which premiered in
politain, Alexandre Da
London in 2004, will be staged this summer
Costa and the Orchestre
at the Louis-Fréchette hall of Quebec City’s
Symphonique de MonGrand Théâtre. It will feature many Canadian
tréal, Louis Lortie, Marcsingers, including Frédéric Antoun, Julie BouAndré Hamelin, Karina
lianne, Daniel Taylor, and Joseph Rouleau.
Gauvin, Marie-Nicole
The conductor has not been announced. PM
Lemieux, and Jacques
PM
Hétu.
Sakari Oramo named BBC
Symphony’s new conductor
Sakari Oramo has been appointed as the BBC
Symphony Orchestra’s new chief conductor
designate. He will resume the post at the 2013
Proms. Oramo is from Finland and 46-yearsold. He currently leads the Royal Stockholm
Philharmonic and the Finnish Radio Symphony. He will replace Jiří Bělohlávek, who
will return to the Czech Philharmonic after
five years with the BBCSO. Oramo conducted
the BBCSO last October in a performance that
CC
included Sibelius’ Third Symphony.
The Emerson String Quartet is welcoming a
new member for the first time in three decades.
Cellist David Finckel will focus on other projects and will be replaced by Paul Watkins, who
is, among other things, the English Chamber
CC
Orchestra’s inaugural music director.
Free Music Ed. Symposium
The Leading Note Foundation and the Ottawa
Chamber Music Society are presenting a free,
one-day symposium on March 31st at Ottawa’s Dominion Chalmers Church to discuss the impact of music education on
children. To sign up please contact Gayle
leadingnotefoundation@
Jennings
at
hotmail.com or 613.859.3559.
LJA
David Garrett
plays Paganini
on film
2012 National
Orchestras Meeting
The 2012 National Orchestras
Meetings will be held in Montreal
from May 27th to 29th and will be
hosted by the OSM and HEC
Montréal. There will be peer
discussions, workshops and
LJA
networking events.
TRANSLATION:
CRYSTAL CHAN,
REBECCA ANNE CLARK
Violinist David Garrett, a performer who
bridges the worlds of
rock and classical music,
will make his feature
debut in Bernard Rose’s
The Devil’s Violinist,
PHOTOS, CLOCKWISE
FROM TOP LEFT:
SAKARI ORAMO
PHOTO Heikki Tuuli / Octavia
LOUIS-LORTIE PHOTO Elias
DAVID GARRETT
IN MEMORIAM
Charles Anthony » The tenor spent the majority of his ca-
reer on the stage of the Metropolitan Opera, where he performed in
69 different productions. Born in 1929 in New Orleans, he rose to
fame thanks to the “Auditions of the Air” competition in 1952. Just
before beginning his career on stage, he was advised to change his
name (Calogero Antonio Caruso) to avoid being mistaken for a relative of Enrico Caruso, one of the greatest tenors of all time. PM
André Asselin »
A composer, pianist, and musicologist,
André Asselin passed away on January 26, 2012. After studying
piano with Auguste Descarries, he toured in 1948 with the Paris
Opera dance troupe, including in South America. A real ambassador of Canadian classical music, he championed works by Claude
Champagne, Auguste Descarries, and André and Rodolphe Mathieu in Europe. After living in Paris for close to forty years, he
PM
moved back to Montreal in 1987.
MARCH 2012
7
sm17-6_EN_p8-10_MusiCulture+Gould_sm17-6_FR_pXX 12-03-05 2:39 PM Page 8
M U S I C U LT U R E
YIN/YANG
MONTREAL’S MUSICAL ENTREPRENEURS
by CRYSTAL CHAN
T
heir paths crossed while growing up
in Ottawa and studying at McGill
University, but it was not until years
after graduation that they reconnected at a gig. By then, Pemi Paull
and John Corban had racked up years of experience playing with orchestras and established
ensembles as well as founding some of their
own. After this meeting, Corban became a
regular participant in Paull’s Magic Castle
Chamber Music Festival and the two started
playing together in such groups as Ensemble
KORE, a pioneering new-music ensemble in
Montreal. They began talking about starting
an ensemble together. Their goal: bringing
ideas fostered by alternative music into the
mainstream.
Warhol Dervish played their first show in
2006 at an art gallery. Alongside Philip Glass’s
Fifth Quartet, the set included Christopher
Fox’s Blank, a microtonal drone piece, and
Solitude, a work based on elements of Pink
Floyd’s Shine On You Crazy Diamond by
Canadian composer Scott Godin.
Dervish Café, Paull and Corban’s favourite
hangout in those days, was only part of the inspiration for their name. They wanted to evoke
“the whirling dervishes, whose aspiration to
transcend the material into the spiritual dimension is much like our aim as musicians,”
Paull says. On the other hand, “It’s so easy for
classically-trained musicians to fall into the
trap of thinking that their work needs perpetual improvement before it can be presented.
8
MARCH 2012
Whereas Andy Warhol’s philosophy of work
was that you just keep creating, producing,
and selling your art, as with any other vocation. Warhol represents a perspective on being
an artist that is aware of and thrives on the demands of the marketplace—and yet he was still
a 100% unique artistic voice.” As a result, “the
name Warhol Dervish represents the yin and
the yang of being an artist” today.
Many groups have recently started in Montreal with origin stories similar to Warhol
Dervish’s. Their programming, number of
members, and missions may differ, but these
emerging ensembles describe shared ideals,
such as moving beyond conservatory habits
and repertoire and sharing music by other
young, often Canadian, composers. What
pushed these musicians to combine music with
entrepreneurship and start ensembles? How
do they combine business and art to tackle the
yin and yang of being a musician today?
bank of potential colleagues that they meet
through varied gigs (or, for those fresher from
school, the classroom) to good use.
Emerging ensembles also rely on musical
peers to spread the word. “It’s really difficult to
bring the public to our concerts,” explains
David Lapierre, the general director and president of Ensemble Kô. “We can propose a partial solution if we work in collaboration with
other ensembles.” As they are small, these ensembles have to put more effort into publicity.
Shared networks matter. Dina Gilbert, artistic
director of Ensemble Arkea, says that they
wouldn’t even have been able to present most
of their concerts without collaboration.
As under-publicized as they are, it seems
that getting noticed is less of a concern than
showcasing other musicians. Before they
speak of much else, these performers refer to
a raison d’être that only indirectly has to do
with self-promotion: the recognition of young
composers. This is not entirely altruistic, of
***
course; the works of less-established comPortmantô has a musical open-door policy. posers are often more accessible to these
The ensemble is a rotating cast of performers groups, financially and otherwise. But in their
recruited to fill specific parts. Artistic director quest to get performance material, these
Mark Bradley says this “society model” allows groups are also unearthing new talent that esthem to “present a greater variety of unusual tablished ensembles might pass over—at least,
chamber music works than fixed-instrumen- for now.
tation ensembles.” Having not yet won or havIt is vital, Trio ’86 co-founder Krista Maring no interest in winning an audition for a tynes insists, to “treat contemporary music as
major ensemble, it’s practically impossible for we do the classics.” Arkea started a composithese musicians to pay the bills without tak- tion contest this year with the help of Codes
ing on a variety of gigs. This model puts the d’accès; the finalists had their works per-
sm17-6_EN_p8-10_MusiCulture+Gould_sm17-6_FR_pXX 12-03-05 2:39 PM Page 9
M U S I C U LT U R E
formed and judged, in part, by audience vote
in mid-February. Kô’s tenor, François-Hugues
Leclair, recruits promising composers through
his job as a Université de Montréal composition professor. Portmantô takes their composers so seriously that Bradley describes
them as “as much a part of the band as we
are… From the start, we invited composers to
join us in charting the course of the ensemble,
by writing original music for us to play but
also by advising on the nitty gritty day-to-day
operations of the group.” These groups are in
an especially good place to discover and showcase local talent. Ensemble Paramirabo is not
only dedicated to becoming “a trampoline for
young Canadian composers,” but, according
to artistic director Jeffrey Stonehouse, would
like to “act as their ambassadors in other
countries.”
After “maximizing opportunities for publicity,” Bradley says that “finding the appropriate venues” is Portmantô’s biggest challenge.
Here, the groups have once again turned difficulty into opportunity. The cost of renting
venues is steep, and the cost of high-profile
ones even steeper. Instead of grumbling about
the cafés, galleries, small churches, and other
spaces (even private homes) more easily available to them, these musicians have incorporated them into their mandates. Trio ‘86 aims
“to bring [their] following to a diversity of venues throughout the city.” Martynes says it is
undeniable that “space-related performance
has become important, as music is being taken
to cafés, bookstores, old factories and loft
spaces.”
Ensemble Allogène pianist Daniel Áñez recounts how the difficulty of “finding spaces to
play with a piano” while keeping on budget
pushed them to play “concerts in places that
reach different types of public, places not necessarily conceived for classical music.” All this
echoes many recent initiatives, from the international Classical Revolution movement to
the national Canadian Music Centre’s New
Music in New Places program and Montrealbased Chamber Music Without Borders.
Which is not to say that these ensembles are
using these venues only out of necessity. They
are also using them to artistic effect. “Our programming follows a few important principles
and the first is to tie the programme to the
venue as much as possible,” says Bradley. Similarly, Lapierre says that they “like to take advantage of the places where we sing, mainly
churches, where the acoustic is great most of
the time.” Kô even creates choreographed performances—for example, two walking choruses singing through different parts and
heights of the church.
The end goal is to reach their audience more
directly. “We choose venues which invite discussion,” says Stonehouse, who is also artistic
director of Productions Berrisque, which organizes “performances in intimate and surprising settings.” Paramirabo’s home this
THERE ARE MANY emerging ensembles in Montreal, and all of them must navigate the line
between art and business. CLOCKWISE FROM TOP: PARAMIRABO PHOTO Keith Race;
WARHOL DERVISH PHOTO Isak Goldschneider; ALLOGÈNE PHOTO Simon M.
season is Café l’Artère, where, Stonehouse explains, their “audience can have a drink and
discover music they’ve never heard before. We
always stay after the show for questions, comments, and to share opinions on the pieces
we’ve played.”
To draw in diverse audiences, these ensembles might present a mix of old and new
music—what Martynes elegantly describes as
“classical concerts with a complementary
splash of contemporary or improvised music.”
They also orchestrate multidisciplinary
events. Arkea is preparing a project with films
for next year as part of its desire, as Gilbert
puts it, to be “available for many different
projects that other classical ensembles would
not plan to do.” Portmantô even performs interactive pieces. Or rather, their audiences
do—one commissioned piece by Marielle
Groven has audience volunteers play wine
glasses at the instruction of ensemble members; it will formally premiere next season. In
another new piece, Nick Norton’s “And the
Band Gets Played,” audience members are invited to direct the musicians using flash cards.
Such quirky and creative forms of musical
outreach seem to be working. “I know at least
two regular audience members who have
started buying symphony tickets and checking the listings for other groups since coming
to our shows,” says Bradley. Gilbert agrees
that she is continually “impressed by the
amount of people telling us they came for the
first time and finally found out that they like
classical music. From Vivaldi to new works,
they felt we had something to say and they
could understand more than what they were
expecting. Some of them write us emails or
meet us after concerts.” Martynes describes a
similar reaction from her family members,
many of whom “have mentioned that, although their initial reason for coming to the
concert was to support [Trio ‘86], they were
surprised at how much they enjoyed it. Some
say it feels like they are traveling: they don’t
necessarily know the language, but they make
their own impressions.” It seems that the trio
has more than succeeded at fulfilling their
mission to “break any invisible wall between
music and the listener.”
Converts have even evolved into promoters.
Áñez describes a friend’s reaction to his concerts: “He’s a cineaste, but had never heard
contemporary music. He fell in love instantly.
After seeing me play in Montreal, he moved
back to Vancouver. He started getting to know
the Vancouver contemporary music milieu,
met the most prominent composers, and even
made a short documentary on Hildegard
Westerkamp!”
They may be keeping classical music relevant, and they make great test labs for programming and presentation ideas that could
rejuvenate the mainstream classical music inMARCH 2012
9
sm17-6_EN_p8-10_MusiCulture+Gould_sm17-6_FR_pXX 12-03-05 2:39 PM Page 10
M U S I C U LT U R E
dustry, but these groups have not found many
ways to tackle the industry’s financial woes.
These musicians are resourceful; they are willing to adapt to lower-cost venues and publicity. However, just like the more established
ensembles whose struggles to stay afloat make
up classical music headlines, money is of great
concern.
It is true that, compared to the U.S., Canada
is fertile ground when it comes to grants and
foundations that support musicians. There are
restrictions, however, and many work against
newer groups. “As a young ensemble, we are
not eligible for most of the grants,” explains
Gilbert. “We have many ideas, but we also
need someone to finance them.” Although
music business courses are offered through
some conservatories, Stonehouse believes they
are not common enough: “No class during our
schooling taught us how to profit from our ensemble or manage it.” Although the group is
lucky enough to have gotten some support
from Jeunes Volontaires, he says “money is an
issue that remains a source of worry, a constant stress.” This stress even pushed Kô to
create a specific finance committee. Time will
tell whether the traditional committee strategy will work for these ensembles, or whether
they will adopt sustainable solutions yet unknown to classical music.
Regardless, these performers may give us
the best vantage point on how to bridge a
much-discussed gap. While it’s often lamented
that the classical music audience is aging,
there are plenty of young classical music performers. They have friends that make up that
demographic so elusive to the large symphonies’ marketing teams: younger people uninterested in classical music. These
performers have a personal interest in winning them over.
These performers may give us
the best vantage point on how to
bridge a much-discussed gap.
While it’s often lamented that
the classical music audience is
aging,there are plenty of young
classical music performers.
That seemed, in the end, to be the common
impetus for the musicians to start an ensemble: a desire to share their music more widely,
more easily, and with greater control. They’re
conservatory trained but eager to experiment.
Almost all stressed a commitment to showcasing music written by other young Canadians.
Driven by this desire to share, they are
charting new markets even though their profit
margins are slim. Perhaps these musicians will
seduce enough listeners to shift the tide. They
seem better poised to connect with unconverted audiences than large symphonies, established opera houses, or big name quartets.
Far from insular or doggedly alternative,
these ensembles acknowledge their part in the
bigger classical music culture. “What we are
aiming for is to create events that have meaning to the greater culture,” Paull says. “With
new media it has become easier to get out of
our own bubble, see where we fit into the
greater musical scheme of things. We have
more awareness of what’s out there and have
an easier time of getting our own contributions out there.”
Of course, this is but a tiny cluster of ensembles forming a case study for what might
be going on elsewhere. Dozens of parallel
groups are doing exciting things with new
music or new presentations across Canada.
Take away the criterion of experience and the
list grows longer still; the oldest of these particular groups started around five years ago
and their performers are neither all music
school students nor well-established in the
music business (Ensemble Transmission, for
example, is a group that started recently but
whose members are not ‘emerging artists’).
Will these groups turn the tide? We will
have to wait and see.
LSM
www.facebook.com/pages/Warhol-Dervish/92139405675;
www.portmanto.ca; www.ensembleko.com;
www.ensemblearkea.com; www.trio86.com;
www.ensembleparamirabo.com;
www.myspace.com/ensembleallogene
Pemi Paull and Krista Martynes have written for LSM.
MUSIC LESSONS
by CAROLINE RODGERS
T
his year would have marked Glen
Gould’s 80th birthday. To commemorate this milestone, CBC has released
a 10-DVD set containing 19 hours of
Glenn Gould’s television appearances
between 1954 and 1977.
These recordings include studio concerts,
where he plays alone or with other musicians
like Yehudi Menuhin or Maureen Forrester.
Most are introduced by Gould himself. Some
shows are devoted entirely to one composer.
Rarely these days do we have a chance to hear
great musicians enthusiastically share their vision of Bach, Beethoven, Strauss, Shostakovitch
or Schoenberg. To hear a genius like Gould
share his opinion of these artists and their
works, with examples, is a true music lesson
from the past, with themes like “The Anatomy
of a Fugue” and “Anthology of Variation.”
This boxed set is a must-have not only for
pianists, but also for students of all instruments. The set will please music lovers and
Gould fans alike, wanting to better understand
his art and his eccentric personality. His personality comes across on the screen in his
speech, gestures and attitude.
10
MARCH 2012
Based on a study of his unusual habits and his sometimes
strange behaviour, American
psychiatrist Peter Oswald, in
his book The Ecstasy and
Tragedy of Genius, concluded
that Gould probably suffered
from Asperger’s syndrome, a
type of autism. The way he expresses himself and behaves in
front of the camera leads us to
believe that within him was
something extraordinary, beyond his musical genius.
This boxed set’s appeal is more than just
musical. Anyone interested in the evolution of
media, particularly television, will find this to
be a captivating historical document. It is fascinating to observe the way a program entirely
devoted to music, like Festival, was produced
and hosted in the 60s compared to such shows
today.
While today we are used to tight editing,
constantly changing camera angles, flashy set
decoration and hosts that burst into laughter
every five seconds, shows from the 60s
seemed static, dry and intellectual. Younger
audiences might go so far as to qualify them
as monotone. Yet they still retain a
quality that is quickly disappearing from the small screen: the
presentation of high-level intellectual and cultural content.
The most interesting segments
are long interviews with Gould
conducted by musical host and director, Humphrey Burton. Gould
explains, among other things, why
he hates playing in concert and
prefers studio recordings.
The image quality is good and
the audio has been entirely re-mastered. Two drawbacks can be noted. First of all,
for Francophone audiences, there are no translations or subtitles in French. Furthermore the
accompanying booklet is a measly two pages,
containing no more than a list of programs. A
more elaborate booklet would have added even
more value to this collection.
LSM
TRANSLATION: LINDSAY GALLIMORE
DVD box set “Glenn Gould on television – The complete CBC Broadcasts 1954-1977,” Sony Classical
sm17-6_EN_p11-12_CalCover_sm17-6_FR_pXX 12-03-05 2:39 PM Page 17
the
MARCH 1 to APRIL 7
calendars • previews • classifieds
GUIDE
Jean-Michaël
Lavoie
A Career Takes Flight
by CAROLINE RODGERS
A
s he turns thirty this month,
Jean-Michaël Lavoie has no
shortage of projects in mind.
He is making a name for himself as an up-and-coming conductor, having made back-to-back debuts
with world-famous orchestras over the past
two years. After training abroad with musical greats in Europe and the United States,
local audiences will now have the chance to
see him in performance.
Like many youngsters, Lavoie took piano
lessons as a child in Saint-Césaire, in Montérégie. Later, in high school, he directed
his school’s choir. He went on to study
music at McGill University, first completing
a bachelor’s degree in musical theory and
piano, followed by a master’s degree in conducting.
contents
MARCH 14
MARCH 20
Andrew
Wan
Murray Perahia
REGIONAL
CALENDAR
CONCERT
PREVIEWS
CLASSIFIEDS
PHOTO Felix Broede
GET LISTED
PHOTO Bo Huang
21
18
19
24
22
Are you promoting an event?
Visit calendar.help.scena.org for
more information
MARCH 2012
PHOTOS of Lavoie: Jean Radel
» CONT. on PAGE 12
11
sm17-6_EN_p11-12_CalCover_sm17-6_FR_pXX 12-03-05 2:39 PM Page 18
P O RT R A I T J E A N - M I C H A Ë L L AVO I E
» CONT. from PAGE 11
There, composer, professor and conductor Denys Bouliane took
Lavoie under his wing for four years. “He gave me responsibilities and
I conducted many concerts on top of my studies,” the musician explains. “I was able to gain experience quickly, especially in contemporary music. You could say that Denys Bouliane was the person who
helped me the most at the start of my career.”
Between 2008 and 2010, Lavoie had the chance to conduct the Ensemble intercontemporain de Paris alongside one of music’s giants:
Pierre Boulez.
“Contemporary music became one of my greatest strengths, and this
opens the doors to major orchestras since few young conductors make
this their speciality,” he says.
Winner of the 2010 Opus Prizes’ New Artist of the Year award, he
signed a contract that same year with the International Classical Artists
agency, which also represents Kent Nagano. He also directed the Los
Angeles Philharmonic as part of the Dudamel Fellowship Program,
which included several concerts for youth.
He enjoys conducting children’s concerts, something he has now
done with three different orchestras. Besides the pedagogical aspect
{
“Technology helps us reach our
audience, enlivening and
animating the concert.”
– LAVOIE
of these concerts, they are a great way to get to know an orchestra before tackling more demanding audiences. Last November, he conducted the OSM’s Le Petit Prince, a show destined for schoolchildren.
“Children react much more spontaneously; the dynamics are different than with a symphonic concert,” he says. “Although the program
is reduced, there is great energy on stage and in the hall. We get to see
the learning as it happens. I’m starting to notice the great work that orchestras are doing more and more often with young children in
schools.”
Over the last year, Lavoie debuted with the OSM, the OSQ, the
Toronto Symphony Orchestra, the BBC Orchestra, the National Arts
Centre Orchestra, the Opéra de Rennes and the Orchestre d’Auvergne
in France. As for upcoming debuts, expect to see him with the Orchestre national de Lille, the Opéra de Rouen and the Opéra de Bordeaux.
Technology in support of music
This month, he will conduct Tchaïkovski à l’heure du multimédia, a
project including video projections, an actor on stage (Jack Robitaille)
and a narrator. “It is a new experience meant to help audiences understand the symphony, with demonstrations on
several levels accompanied by narration and images,” says
the young maestro, who doesn’t hesitate to participate in
these types of concerts.
“Technology helps us reach our audience, enlivening and
animating the concert,” he adds. “This meets the needs of
audience members who aren’t regular orchestra-goers, allowing us to build bridges with them and get them interested
in knowing more about classical music. In the first part of
the concert, the narration accompanies extracts of the piece
played by the orchestra, and in the second part, we play the
symphony in its entirety. I think this approach is better than
leaving a novice public alone with nothing but the program
notes.”
Technology can also support bold creations, even in the
oldest of concert halls. This was the case at Milan’s La Scala
last April, when he took part in the premiere of Quartett, an
opera by Luca Francesconi, an Italian composer currently in
the spotlight. Based on the play with the same name by
Heine Müller, itself adapted from Laclos’ Les Liaisons dangereuses, the piece requires two orchestras and only two
characters inside a box, suspended in the air by cables.
While another conductor directed the main orchestra in
the pit, Lavoie, in a room on another floor, directed a second orchestra of 80 musicians with a chorus of 40 singers,
invisible to the public, and whose role was to musically echo
the thoughts and feelings of the protagonists. The audio was
retransmitted by speakers encircling the audience, and
Lavoie had to keep visual contact with the lead conductor
while still keeping his eyes glued to a screen in order to keep
everything synchronized.
“I didn’t expect to have the chance to spend two months in
Milan, and it was a great challenge to participate in this premiere given its technological constraints. It was also my first
experience with the opera, which I really enjoyed. The audience loved it. I conducted six shows. “
He admits he’s been bitten by the opera bug. “I fell in love
with it and I definitely want to develop that aspect of my career over the next few years.”
LSM
Conducting the OSQ: Tchaïkovski à l’heure du multimédia,
March 21, Grand Théâtre de Québec
www.osq.org
TRANSLATION: LINDSAY GALLIMORE
12
MARCH 2012
sm17-6_EN_p13_ADs_sm17-6_FR_pXX 12-03-05 2:39 PM Page 13
FESTIVAL
A FUGUE AT THE MUSEUM
Presented in connection with the exhibition
Lyonel Feininger: From Manhattan to the Bauhaus.
THURSDAY, MARCH 8 \ 2 p.m.
SMCQ Ensemble
The Well-Tempered Telephone
THURSDAY, MARCH 8 \ 7.30 p.m.
David Jalbert, piano
Preludes and Fugues by Shostakovich
SATURDAY, MARCH 10 \ 7.30 p.m.
Opening hours: Monday to Saturday, 9:30 to 6:00
Les Idées heureuses
The Art of Fugue by J. S. Bach
SUNDAY, MARCH 11 \ 7.30 p.m.
Ensemble Caprice
J. S. Bach’s Six Brandenburg Concertos
J. S. BACH’S WELL-TEMPERED CLAVIER IN FOUR CONCERTS
I. FRIDAY, MARCH 9 \ 6 p.m.
Tom Beghin, pianoforte and clavichord
Iliya Poletaev, harpsichord, piano and organ
Preludes and Fugues Nos. 1 to 6, books I and II
II. FRIDAY, MARCH 9 \ 8 p.m.
Tom Beghin and Iliya Poletaev
Preludes and Fugues Nos. 7 to 12, books I and II
III. SUNDAY, MARCH 11 \ 2 p.m.
Luc Beauséjour and Jean-Willy Kunz
harpsichord, clavicytherium and organ
Preludes and Fugues Nos. 13 to 18, books I and II
IV. SUNDAY, MARCH 11 \ 4 p.m.
Luc Beauséjour and Jean-Willy Kunz
Preludes and Fugues Nos. 19 to 24, books I and II
As well as lectures, films and courses!
TERRITORIUM
Monotypes and mixed media on paper
MOUNA ABED
Exposition • February 17 to May 11 2012
Galerie Wilder & Davis
257 Rachel Est, Montréal, QC, H2W 1E5
Tel: 514.289.0849
bourgiehall.ca
514-285-2000 (option 4)
Presented by
Photo: Paul Boisvert
Bourgie Hall \ March 2012
sm17-6_EN_p14_Bessette_sm17-6_FR_pXX 12-03-05 2:39 PM Page 14
P O RT R A I T LO U I S E B E S S E T T E
Looking Onwards
by LUCIE RENAUD
14
MARCH 2012
PHOTO Robert Etcheverry
T
here are few performers who so seriously and irreproachably defend
contemporary music as pianist
Louise Bessette. She will be soon
celebrating her thirty-year career by
offering us not one, not two, but three different concerts—all in a single day, March 31st.
Having amassed an impressive résumé, received laudatory reviews, recorded a rich
discography of over twenty titles and organized the well-received event, Automne Messiaen 2008, her seemingly faultless trajectory
easily intimidates.
However, it took only two minutes in her
presence to understand that, even if she lives
and breathes a rare creativity, she has absolutely no problem with staying grounded in
the real world. There is no pretense, no empty
words. She has a contagious energy: her eyes
smile like those of a child about to blow out
the candles on a birthday cake and her honest
laugh sweeps up everything in its wake.
She doesn’t look a day older than 40, and
yet, the Encyclopedia of Music in Canada tells
us she was born in Montreal in 1959. Because
her mother and her mother’s mother had both
been organists at the Église de La Visitation, it
is not surprising that Louise was taught to play
the piano at five years old. In 1971, she was accepted at the Montreal Conservatory of Music
where, working with Georges Savaria and,
later, Raoul Sosa, she would win five first
prizes. Under Sosa, she would seamlessly shift
from Berg’s Sonata to Messiaen’s “Première
communion de la Vièrge” from Vingt regards
sur l’Enfant-Jésus.
“I could not see the complexity,” she says, as
if that had been a self-evident choice. She was
nonetheless aware, at that time, that other pianists already envied the ease with which she
tamed those pieces.
A string of successes followed, including
wins at the Eckhardt-Gramatté National
Music Competition, Concours International
de Musique Contemporaine in Saint-Germain-en-Laye, France, International Gaudeamus Competition for Contemporary Music in
Rotterdam, Netherlands, and Québec-Flanders Contemporary Music Award. “Not once
did I question the path that I took or what I
wanted to accomplish. I did what I liked to do,”
she says. “I enjoy discovering off the beaten
path.” Her peers have also recognized her virtuosity and her vision numerous times. She
has been awarded several Opus awards in
such categories as “Best performer” and “Musical event of the year.” The latter was awarded
for Automne Messiaen 2008, for which no less
than fifty musicians, ensembles and organizations took part. These included the Quatuor
pour la fin du temps, now ARTefact, an ensemble in which Louise Bessette is joined by
Simon Aldrich, Yegor Dyachkov, and
Jonathan Crow. ARTefact will perform during
this year’s thirty-year celebrations, at the first
concert.
Four pieces will be heard for the first time
on March 31st. “The creators are the voice of a
nation and each creation is an important moment of music,” she tells us, believing that the
premiere of any work allows for a second moment of creation. Michel Boivin’s Les Cinq
Éléments for solo piano will be performed, as
well as Ana Sokolović’s City Songs (performed
with Olga Ranzenhofer), a new work from
Michael Oesterle, and Serge Arcuri’s Les
Sabliers de la mémoire. Bessette discovered
Arcuri in 2004 through Fragments, which is
on the ATMA album Migrations, which won
an Opus award last January.
The pianist will then present a solo recital
based around Scelsi’s Suite No.9 (Ttai) and
Walter Boudreau’s Les Planètes. “Scelsi is a
composer I relate well with. His world is very
private, quite the opposite of Boudreau, who
has written a rather explosive piece. After a violent start, the music slowly bares itself, progressing into a magical flourish.” The final
program, a first-time collaboration with Peter
Hill, is centred around the outstanding fourhand version of Stravinsky’s The Rite of
Spring and, naturally, Messiaen’s Visions de
l’Amen.
“I really appreciate working with composers,”
says Bessette, who has played many commissioned works. “The performer’s work is very
rich and we put a lot of ourselves in it. When
we can share with the composer, it’s a real
treat. Does the performer not take part in the
emotion? All composers come with their questions, their fears, their joys, and their own
world. It is always very rewarding to talk with
them. All that is left to do is to integrate what
the composers have brought into the work.”
When she is not trying to decipher new
works, she teaches at the Conservatory, takes
care of her 12-year-old son, or reads or practices Tai-Chi, which she has integrated into
her approach to the keyboard. “There is a lot
of depth in Tai-Chi: hand movements, breathing, relaxation, concentration, memory and
the inner self. When I’m at the piano, I always
have to be conscious of the importance of the
body, of its relaxedness, if I want to produce a
beautiful sound. Tai-Chi helped me to be more
consciously aware of that.”
One might also find her attending a concert—to “hear her collegues”—or travelling,
which is one of her true passions. “It doesn’t
matter where I am, music is always with me; I
hear things in my mind, I think of pieces and
their performance.” Once she gets back behind
the piano, images surge, assimilate themselves
into the page, and take on another life. “It is
important to see the beauty of our world.
Though it may be filled with horrible things, we
must never, ever lose sight of its beauty.” LSM
Chapelle historique du Bon-Pasteur, March 31st
www.smcq.qc.ca, www.louisebessette.com
TRANSLATION: DAVID-MARC NEWMAN
sm17-6_EN_p15_ADs_sm17-6_FR_pXX 12-03-05 2:39 PM Page 15
GIFT IDEA
15
years
Puccini 150
Order this and other CDs from
the LSM Store: www.scena.org
or at Delphi Variété,
221 Fairmount O, Montréal
* shipping extra
The Discovery CD
3 YEARS - 30 CDS
Bernard Lagacé, Marc Boucher & Olivier Godin,
Colette Boky, Michel Beauchamps, Marie-Josée
Simard & Marie Fabi, Jonathan Crow, JeanPaul Jeannotte, François Panneton, Lucille
Chung, François Zeitouni, Wonny Song &
Alexandre da Costa, Velitchka Yotcheva & I
Cellisti, Arthur-LeBlanc Quartet, Oscar Peterson, Maureen Forrester, Pierrette Alarie, Huguette Tourangeau, Charles-Marie Widor organ
symphonies, Vladimir Landsman, Otto Joachim, John Newmark, Anne Robert, Kenneth
Gilbert, Morisset & Bouchard, Trio di Colore,
David Jacques, Bach Mass in B Minor (part I &
II), Mathieu Gaudet, Bareil & Lépine
$6 each
dons.lascena.org
514 948-2520
Subscribe now and
receive a second
subscription for
half price.
YOUR SUBSCRIPTION INCLUDES:
» La Scena Musicale /
La SCENA (10 editions)
»10 Discovery CDs
» Access to the online Naxos Music
Library (more than 700,000 music
tracks and 50,000 CDs)
» Eligibility for prize draws
during the year
For new subscribers only.
Cannot be combined with
other promotions.
Charitable Organization No.: 141996579 RR0001
SUBSCRIBE
NOW!
SUBSCRIBE!
YES! forTwooneyearsyearforat$77only___$42 ___
I want to subscribe
SM17-6
(TAXES INCLUDED)*
FREE CD of your choice
with each
2-year subscription
www.scena.org
E-MAIL:
CASH INCLUDED
VERSION FRANÇAISE __ ENGLISH VERSION __ $_____ DONATION
VISA
MASTERCARD
AMEX
NAME:
ADRESS:
CREDIT CARD NUMBER
EXPIRATION DATE
CITY:
SEND THIS COUPON TO :
PROV.:
POSTAL CODE:
LA SCENA MUSICALE
5409 WAVERLY, MONTREAL, QC
H2T 2X8
2nd SUBSCRIPTION
MY FRIEND
YES! SUBSCRIBE
FOR HALF PRICE!
SM17-6
$15
Discover the La Scena Musicale
separate English & French editions
VERSION FRANÇAISE __
ENGLISH VERSION __
NAME:
PROVINCE:
ADDRESS:
E-MAIL:
CITY:
50%
POSTAL CODE:
sm17-6_EN_p16-17_Garage+AOJQ_sm17-6_FR_pXX 12-03-05 2:39 PM Page 16
YO U T H
The Garage à musique
Changing a neighbourhood through music
by CAROLINE RODGERS
It’s
a beautiful, sunny house in
the Hochelaga-Maisonneuve
neighbourhood of Montreal.
Tiny violins hang on the walls.
A majestic piano sits silent in the corner. In a
couple of hours, the instruments will come to
life in the hands of the neighbourhood children who come to enjoy themselves within the
walls of the Garage à musique.
There are now countless scientific articles
demonstrating the positive effects of music on
the social and neuropsychological development of children from birth onwards. Notably,
it develops motor skills, dexterity, language,
and other cognitive and social skills.
Hélène Sioui-Trudel, a lawyer and mediator interested in children’s rights, launched
this project aimed at children from age 0 to 20.
The organization combines three components:
social development-based pediatric care provided by her common-law partner, Dr. Gilles
Julien, personalized after-school support, and
collective musicmaking. It all started in 2009
with a pilot-project in partnership with Samajam, a percussion school, with the students of
the Saint-Nom-de-Jésus primary school.
“We work hard so that access to music becomes a right and not a privilege,” says SiouiTrudel. “Playing music, playing sports,
moving, reading, having more possibilities to
develop as human beings: these are the rights
of children. In my opinion, a child who does
not have music in his life while young is deprived of a powerful tool for development and
it’s an overridden right.”
It was not by chance that they chose the
Hochelaga-Maisonneuve neighbourhood: it is
one of the poorest neighbourhoods in Montreal. According to Sioui-Trudel, almost half
of all children here have not gained the basic
skills needed to enter school by age four. It’s
also one of the neighbourhoods with the most
complaints to the Quebec government’s Director of Youth Protection.
“Why do children in such neighbourhoods
not have as much access to culture as in a
neighbourhood like Outremont? These children are like all others: they are intelligent and
their eyes burn with curiosity. If we do not
permet them to keep that flame alight, it’s
hope itself which is condemned,” she says.
“This neighbourhood needs tools like Garage à
musique to prevent social problems, skipping
16
MARCH 2012
school, delinquance. For me, it’s criminal that
our society does not give children what they
need to grow up physically and mentally
healthy. And I think that music is one of the
most powerful tools to combat these problems.
We cannot overlook it.”
Today, 228 children are registered for programs at Garage à musique. Registration is
voluntary; it is like any other extracurricular
activity. Children are allowed to choose their
instrument. “Once a child has developped a
passion for an instrument, we lend it to them
and permit them to bring it home with
them,” she explains. “They must
take care of it; it becomes their responsibility.”
Primary schools in the neighbourhood already visit the
Garage à musique, but they want
to accomodate even more. Additionally, music appreciation
courses are offered to nursury
and preschool toddlers who
visit the centre.
For now, the Garage à
musique is financed in large
part by Public Safety
Canada’s National Crime
Prevention Centre. But the
costs, including pay for
music teachers and specialized educators, is high. On
top of that, their premises are
small and they hope to move
to a larger building with
soundproof rooms adapted
for practice and rehearsal.
To this end, they have
started a fundraising
drive for $1.2 million to
renovate the Ovila-Pelletier, a large abandoned
building owned by the
City of Montreal.
The objective is for
children to be able to
come to the Garage seven
days a week and for longer
hours. In this they are taking ispiration from the El
Sistema program from
Venezuela.
Children
would be able to play
music there, but also do
their homework.
Their hope to possibly one day create a
youth orchestra—space permitting—is also inspired by El Sistema. Sioui-Trudel made a pilgrimage to Venezuela to observe how El
Sistema runs and to meet is founder, José Antonio Abreu. She has also invited Venezuelan
teachers to pass on their teaching methods to
local teachers. “The shows they put together
are wonderful; they move, they feature repertoire that really attracts young people,” she
says.
At the same time, Quebec is not Venezuela.
She stresses that the El Sistema formula
has to be adopted to the reality here.
“The idea is not to create grand musicians, but good citizens who are capable of realizing themselves and
participating in society. This is why
there is a musical component, a pediatric component, and an education
component.”
LSM
www.fondationdrjulien.org
TRANSLATION:
CRYSTAL CHAN
PHOTO Fondation du Dr Julien
sm17-6_EN_p16-17_Garage+AOJQ_sm17-6_FR_pXX 12-03-05 2:39 PM Page 17
YO U T H
The
musicians
of tomorrow
life,” adds Richard.
Over the AOJQ’s 32 years of existence, more
than 10,000 musicians have trained with one of
its affiliated youth orchestras. A large number
of these musicians have gone on to join professional orchestras both in Canada and abroad.
Youth orchestras work with repertoire that
spans classical to contemporary music, includby MICHÈLE-ANDRÉE LANOUE
ing the Baroque and Romantic periods. “A youth
orchestra does not mean less musical quality;
or thirty years, the Association des quite the contrary. On top of that, it’s saddening
orchestres de jeunes du Québec
(AOJQ) has worked with the up and
coming musicians of tomorrow.
AOJQ’s biennial festival brings the
province’s member orchestras together for
three intensive days under the direction of internationally acclaimed guest directors.
AOJQ’s upcoming festival—its 17th—takes
place April 6, 7 and 8 at the Collège SaintSacrement de Terrebonne.
Founded in 1979, the AOJQ supports and encourages young, talented musicians aged 12 to
15 as they pursue their musical studies. The
president of AOJQ, Louise Richard, emphasizes
the important role of Quebec’s youth orchestras.
“They provide the training ground for our
professional orchestras. We offer musicians
pre-professional training as teaching music
in schools is on the decline,” she says.
The eight youth symphony orchestras at
this year’s festival are from Montreal (directed
by Louis Lavigueur), Saguenay–Lac-SaintJean (dir. Jacques Clément), Sherbrooke (dir.
Julien Proulx), West Island (dir. Stewart
Grant), Terrebonne (Jean-Michel Malouf),
and Rimouski (dir. James Darling).
There will also be two orchestras from Ontario: Hamilton (dir. Colin Clarke) and Windsor (dir. Peter Wiebe). Together, these eight
orchestras will pair up to form four ensembles
and perform a concert on sunday, April 8 of
the pieces they have prepared over the weekend. It will be a time of rigour and discipline
interwoven with fun and unforgettable get-togethers. “Small, impromptu chamber music
groups often form during the weekend. There
is a real feeling of nostalgia by the end of the
festival. The young people leave motivated and
keen for the next festival. It proves that
music forms a whole, a unity,” says Richard.
Conductors who have been invited in recent years include Yannick Nézet-Séguin,
Stéphane Laforest, Jean-Marie Zeitouni, Boris
Brott and Marc David. this year, the blended
orchestras will have the honour of working
with Jean-Philippe Tremblay and Alain Trudel,
both Canadian, as well as Bruno Conti
(France) and Alexander Mayer (Germany).
The conductors unanimously affirm that the
festival is a winning and satisfying concept for
all participants. “The conductors are committed to the musicians, and aware of the role and
influence they hold. In the end, this training
will be useful for these youth for their whole
F
that these orchestras receive so little visibility.
This is why, at the AOJQ, we pool our efforts to
give their influence greater visibility.”
Violinist Alexandre Da Costa is this year’s
festival spokesperson. “He insisted on meeting the youth,” Richard says. She adds, in conclusion: “At the end of a festival, I always think
it’s the best one.”
LSM
www.aojq.qc.ca
TRANSLATION: KARINE POZNANSKI
MARCH 2012
17
sm17-6_EN_p18-24_RegCal_sm17-6_FR_pXX 12-03-05 2:58 PM Page 18
REGIONAL CALENDAR
from March 1 to April 7, 2012
Visit our website for the Canadian Classical Music Calendar calendar.scena.org
SECTIONS
PAGE
Montreal and area . . . . . . . . . . . . . . . . . . . . .18
Quebec City and area . . . . . . . . . . . . . . . . . .23
Ottawa-Gatineau . . . . . . . . . . . . . . . . . . . . . .24
Radio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Deadline for the next issue: March 10
Procedure: calendar.help.scena.org
Send photos to [email protected]
ABBREVIATIONS
arr. arrangements, orchestration
chef / dir. / cond. conductor
(cr) work premiere
FD freewill donation
(e) excerpts
FA free admission
FPR free pass required
MC Maison de la culture
O.S. orchestre symphonique
RSVP please reserve your place in advance
S.O. symphony orchestra
x phone extension
SYMBOLS USED FOR REPEAT PERFORMANCES
f indicates dates (and regions if different) for
all repeats of this event within this calendar.
h indicates the date (and region if different)
of the fully detailed listing (includes title,
works, performers, and dates of all repeats within this calendar) corresponding
to this repeat.
Please note: Except otherwise mentioned, events
listed below are concerts. For inquiries regarding
listed events (e.g. last minute changes, cancellations,
complete ticket price ranges), please use the phone
numbers provided in the listings. Ticket prices are
rounded off to the nearest dollar. Soloists mentioned
without instrument are singers. Some listings below
have been shortened because of space limitation;
all listings can be found complete in our online
calendar.
MONTREAL REGION
Unless indicated otherwise, events are in Montréal,
and the area code is 514. Main ticket counters: Admission 790-1245, 800-361-4595; Articulée 8442172; McGill 398-4547; Place des Arts 842-2112;
Ticketpro 908-9090
brooke Est, 872-5338
Ciné-Met MTL1 (for MetOp_HD live broadcasts) Cinéplex Odeon Place Lasalle, 7852 Champlain; Cinéma
Banque Scotia, 977 Ste-Catherine Ouest; Cinéma
StarCité Montréal, 4825 Pierre-de-Coubertin; Cinéplex Odeon Quartier Latin, 350 Émery (près St-Denis
& Maisonneuve); Cinéplex Odeon Cavendish Mall,
5800, boul. Cavendish; Cinéma Colisée Kirkland,
3200 Jean-Yves, Kirkland; Cinéma Colossus Laval,
2800 Cosmodôme, Laval; Cinéplex Odéon Brossard,
9350 boul. Leduc, Brossard; Cinéplex Odéon
Boucherville, 20 boul. de la Montagne, Boucherville;
Cinéma Capitol St-Jean, 286 Richelieu, St-Jean-surRichelieu
Ciné-Met MTL2 (for MetOp_HD Encore broadcasts) Cinéplex Odeon Place Lasalle, 7852 Champlain;
Cinéma Banque Scotia, 977 Ste-Catherine Ouest;
Cinéma StarCité Montréal, 4825 Pierre-de-Coubertin;
Cinéplex Odeon Quartier Latin, 350 Émery (près StDenis & Maisonneuve); Cinéplex Odeon Cavendish
Mall, 5800, boul. Cavendish; Cinéma Colossus Laval,
2800 Cosmodôme, Laval; Cinéplex Odéon Brossard,
9350 boul. Leduc, Brossard; Cinéplex Odéon
Boucherville, 20 boul. de la Montagne, Boucherville;
Cinéma Colisée Kirkland, 3200 Jean-Yves, Kirkland
CMM Conservatoire de musique de Montréal, 4750
Henri-Julien, 873-4031 x221: SC Salle de concert
MA Laval Maison des Arts de Laval, 1395 boul. Concorde ouest, Laval, 450-667-2040
Maison JMC Maison des Jeunesses Musicales du
Canada, 305 Mont-Royal Est, 845-4108
MBAM Musée des beaux-arts de Montréal, angle Sherbrooke Ouest et Crescent, 285-1600: SBou Salle
Bourgie, 1339 Sherbrooke Ouest
MC PMR Maison de la culture Plateau Mont-Royal, 465
Mont-Royal Est, 872-2266
McGU(mc) McGill University (main campus), 3984547: POL Pollack Hall, 555 Sherbrooke Ouest (coin
University); RED Redpath Hall, 3461 McTavish (l’entrée est du côté est de l’édifice); SCL Clara Lichtenstein Hall (C-209), 555 Sherbrooke Ouest (coin
University); TSH Tanna Schulich Hall, 527 Sherbrooke
Ouest (coin Aylmer)
Ogilvy Magasin Ogilvy, 1307 Ste-Catherine Ouest:
Tudor Salle Tudor, 1307 Ste-Catherine Ouest, 5e
étage
PdA Place des Arts, 175 Ste-Catherine Ouest, 8422112: MSM Maison symphonique de Montréal, 1600
St-Urbain
UdM Université de Montréal; UdM-MUS Faculté de
musique, 200 Vincent-d’Indy (métro Édouard-Montpetit), 343-6427: B-421 Salle Jean-Papineau-Couture; B-484 Salle Serge-Garant; SCC Salle
Claude-Champagne; Opéramania projection de
vidéos d’opéras; commentaires sur l’ensemble;
Michel Veilleux, conférencier; UdM-Laval UdM campus Laval, 1700 Jacques-Tétreault (angle boul. de
l’Avenir; métro Montmorency), Laval; UdMLongueuil UdM campus Longueuil, 101 place
Charles-Lemoyne, bureau 209 (face au métro
Longueuil), Longueuil; Mat_Opéramania Les Matinées d’Opéramania: projection de vidéos d’opéras;
commentaires sur chaque scène; Michel Veilleux,
conférencier
CCC Christ Church Cathedral, 635 Ste-Catherine Ouest,
843-6577
CCPCSH Centre culturel de Pointe-Claire Stewart Hall,
176 chemin du Bord-du-Lac, Pointe-Claire, 630-1220
CHBP Chapelle historique du Bon-Pasteur, 100 Sher-
42nd season
Sunday, April 1st at 2:30 pm
The Segal Centre for Performing Arts
5170, Côte Ste-Catherine rd
presents
VIENNOISERIES
adelicious concert with waltzes, polkas, marches and
potpourris by Strauss, Kalman, Kreisler, Lanner and
Schrammel, introduced by Jean Marchand with Berta
Rosenohl, Luis Grinhauz, Van Armenian, Lambert
Chen, Mariève Bock and Eric Chappell.
Tickets and information: 514.739.7944
www.segalcentre.org www.camerata.ca
18
MARCH 2012
MARCH
Thursday 1
> UdM-MUS B-484. EL. Colloque: L’héritage de Claude
Debussy: du rêve pour les générations futures
(OICRM). 343-6111 x2801
>11am. Ogilvy Tudor. 22-32$. Série
Ogilvy. Vivaldi: Concerto, op.8 #1 “La
primavera”; Boccherini: La Musica notturna delle Strade di Madrid, op.30 #6,
G.324; Maute: Le Printemps transfiguré;
Beethoven: Sonate “Le Printemps”, op.24. Orchestre de chambre I Musici de Montréal;
Matthias Maute, chef; Julie Triquet, violon.
982-6038. (f 17h + 2 3)
>5:45pm. Ogilvy Tudor. 22-32$. Série
Ogilvy. I Musici, Triquet. 982-6038.
(h 11)
> 6pm. MBAM SBou. 13-25$. Fondation Arte Musica;
Les 5 à 7 en musique. Prelude to a Kiss. Standard jazz;
Weill: chansons (version instrumentale). Mark Simons, clarinette; Taurey Butley, piano. 2852000 x4, 800-899-6873
>7:30pm. Centre Segal des arts de la
scène, 5170 chemin Côte-Ste-Catherine. 15-25$. Women of the World Series. Florence K. 739-7944.
> 7:30pm. UdM-MUS SCC. 10-25$. Colloque: L’héritage
de Claude Debussy: du rêve pour les générations
futures (OICRM). Debussy: Pelléas et Mélisande. Orchestre de l’Université de Montréal; JeanFrançois Rivest, chef; Atelier d’Opéra de
l’Université de Montréal. 343-6427, 790-1245.
(f 3)
> 8pm. CHBP. LP. Prokofiev, Janácek, Dvorák. Quatuor
à cordes Cecilia; Georgy Tchaidze, piano. 8725338
> 8pm. McGU(mc) SCL. FA. Class of Tom Davidson,
piano. 398-4547
> 8pm. McGU(mc) RED. $10. Schulich Year of Early
Music. Monteverdi, Farina, Vivaldi, Tartini, Blavet.
McGill Baroque Orchestra; Cappella Antica;
Valerie Kinslow, Hank Knox, cond. 398-4547
Friday 2
> UdM-MUS B-484. EL. Colloque: L’héritage de Claude
Debussy: du rêve pour les générations futures
(OICRM). 343-6111 x2801
>11am. Ogilvy Tudor. 22-32$. Série
Ogilvy. I Musici, Triquet. 982-6038.
(h 1)
> 12:30pm. McGU(mc) RED. FA. McGill Noon-Hour
Organ Recital Series. Matthew Provost, organ.
398-4547
>5:45pm. Ogilvy Tudor. 22-32$. Série
Ogilvy. I Musici, Triquet. 982-6038.
(h 1)
> 7pm. St. John the Evangelist Church (Red Roof), 137
Président-Kennedy (coin St-Urbain). 10$ per session.
Montréal Choral Institute. Masterclass. Harris: Faire
is the Heaven; John Rutter: Gloria; Brahms: 2 Motets,
op.74; Eric Whitacre: Lux Aurumque. St. Lawrence
Choir; voces boreales; Michael Zaugg, cond.
(jusqu’à 21h30) 483-6303, mcm@montréalchoralinstitute.info. (f 3 4)
> 7:30pm. McGU(mc) POL. 12$. SMCQ Série Hommage/Ana Sokolovic. Ana Sokolovic: Nine Proverbs;
Bartók: Concerto pour violon #2; Stravinski: Suite #2;
Friedrich Cerha: Sinfonie pour orchestre. McGill S.O.;
Alexis Hausser, chef; Yolanda Bruno, violon.
398-4547. (f 3)
> 7:30pm. UdM-MUS SCC. EL. Découvertes. Debussy:
Sérénade pour violon et orchestre*; Duo de Rodrigue et Chimène*; Des pas dans la neige* (*oeuvres achevées et orchestrées par Robert Orledge;
créations); Fantaisie pour piano et orchestre. Orchestre 21; Paolo Bellomia, chef; Frédéric
Moisan, violon; Jimmy Brière, piano; Nick
Veehoven, Andrian Rodrigues, barytons. 3436111 x2978
> 7:30pm. UdM-MUS B-421. EL. Bach, Brahms, Liszt,
Prokofiev, Haydn, Debussy. Classe de Paul Stewart, piano. 343-6479
> 7:30pm. Westmount Park United Church, 4695
Maisonneuve Ouest, Westmount. 10-15$. A voce sola:
Italian baroque music. Frescobaldi, Cavalli, Monteverdi, D’India, Sances. Anne L’Espérance, soprano; Jonathan Addleman, harpsichord.
432-2867
> 8pm. CHBP. LP. Mireille Proulx. Mireille Proulx, violon; John Sadowy, piano. 872-5338
> 8pm. CMM SC. 10-25$. Série Vingtième et plus.
Chostakovitch: Quatuor à cordes #8-11. Quatuor
Molinari. 527-5515
> 8pm. McGU(mc) SCL. FA. McGill Jazz Combos. 3984547. (f 8 23 29)
> 8pm. McGU(mc) RED. FA. Schulich Year of Early Music.
McGill Early Music Ensembles. 398-4547. (f 3)
> 8pm. PdA MSM. 40$. Les matins symphoniques.
Borodine et l’âme russe. Koechlin: Les Bandar-Log;
José Evangelista (cr); Borodine: Symphonie #2
“Épique”. O.S. de Montréal; Stéphane Laforest,
chef; Theodore Baskin, hautbois. 842-9951
Saturday 3
> UdM-MUS B-484. EL. Colloque: L’héritage de Claude
Debussy: du rêve pour les générations futures
(OICRM). 343-6111 x2801
> 1pm. Ciné-Met MTL2. 19-26$. MetOp_HD, Encore1.
Handel, Vivaldi, Rameau, etc./Shakespeare, Jeremy
Sams: The Enchanted Island (durée approx.
3h35min). William Christie, cond.; David
Daniels, Joyce DiDonato, Plácido Domingo,
Danielle de Niese, Luca Pisaroni, Lisette
Oropesa, Anthony Roth Costanzo. (f 3 Québec;
3 Ailleurs au QC; 3 Ottawa-Gatineau)
>2pm. Ogilvy Tudor. 22-32$. Série
Ogilvy. I Musici, Triquet. 982-6038.
(h 1)
> 2pm. St. John the Evangelist Church (Red Roof), 137
Président-Kennedy (coin St-Urbain). 10$ per session.
Montréal Choral Institute. Masterclass. St. Lawrence
Choir, voces boreales. (jusqu’à 18h) 483-6303,
mcm@montréalchoralinstitute.info. (h 2)
> 3pm. Église St-François-Xavier, 994 Principale,
Prévost. 8$. Conte musical du Moyen-Âge. Anonyme:
Le Petit homme aux cheveux roux. Philippe Gélinas, instruments anciens; Atelier du conte
en musique. 450-436-3037
> 4:30pm. CCC. Freewill offering. Cathedral Concerts.
Le clavecin baroque. Bach, Couperin, D. Scarlatti.
David Henkelman, clavecin. 843-6577
> 7:30pm. McGU(mc) POL. 12$. SMCQ Série Hommage/Ana Sokolovic. McGill SO, Bruno. 398-4547.
(h 2)
> 7:30pm. UdM-MUS SCC. 10-25$. Colloque: L’héritage
de Claude Debussy: du rêve pour les générations
futures (OICRM). Pelléas et Mélisande. 343-6427,
790-1245. (h 1)
> 8pm. McGU(mc) RED. FA. Schulich Year of Early Music.
Early music ensembles. 398-4547. (h 2)
> 8pm. Théâtre Hector-Charland, 225 boul. l’Ange-Gardien, L’Assomption. 40-42$. Série Grandes Étoiles.
Silence, on joue. John Williams: La Liste de Schindler;
Far and Away; Mémoires d’une geisha; Ennio Morricone: Cinema Paradiso; The Mission; Gershwin: An
American in Paris; etc. Angèle Dubeau et La
Pietà, cordes. 450-582-6714
Sunday 4
> 11am. Centre culturel, Café-théâtre Les Beaux Instants, 3015 place du Centre civique, Tracy.
Beethoven: Trio, op.87; Handel: Suite; Bach: Goldberg
Variations, 3 canons; Beatles: Yellow Submarine.
Trio Débonnaire. 450-780-1118
> 11am. Maison JMC. 9$. La Musique, c’est de Famille!.
Rythmo-rigolo (histoire de la percussion sur différents
continents). Thierry Arsenault, Bruno Roy, instruments de percussion de différentes cultures. (Pour les 3 à 5 ans; 40 minutes) 845-4108.
(f 13 15)
> 1:30pm. Maison JMC. 9$. La Musique, c’est de
Famille!. Rythmo-rigolo. (Pour les 6 à 12 ans; 55
minutes) 845-4108. (h 11)
> 1:30pm. PdA MSM. 14-27$. Jeux d’enfants. A-Bachadabra. Bach, Mozart, Beethoven, Dvorak,
Chostakovitch, Ridout. O.S. de Montréal; Nathan
Brock, chef; Platypus Theatre. 842-9951
> 2pm. Maison de la culture Pointe-aux-Trembles,
14001 Notre-Dame Est. EL. SMCQ Série Hommage/Ana Sokolovic. Ana Sokolovic: Ciaccona. Ensemble Transmission. 868-3076
> 2pm. St. John the Evangelist Church (Red Roof), 137
Président-Kennedy (coin St-Urbain). 10$ per session.
Montréal Choral Institute. Masterclass. St.
Lawrence Choir, voces boreales. (jusqu’à 17h)
483-6303, mcm@montréalchoralinstitute.info. (h 2)
> 3pm. CCPCSH. LP. Rendez-vous du dimanche. Jazz.
Vincent Gagnon, piano; Michel Lambert, batterie; Guillaume Bouchard, contrebasse. 6301220
sm17-6_EN_p18-24_RegCal_sm17-6_FR_pXX 12-03-05 2:58 PM Page 19
> 3pm. MC PMR. LP. Vingt doigts, un piano. Bizet, Grieg,
John Corigliano, Liszt, Mozart, Mendelssohn,
Poulenc. Duo Fortin-Poirier. 872-2266
>3pm. MBAM SBou. 13-27$. Le Livre de
Clavecin des Princesses d’Epstein. Graupner: Partita, GWV 137; Allemande et
courante, GWV 134; Gigue, GWV 138;
Murky, GWV 139; Partita, GWV 141; Sonatine, GWV
135; Partita, GWV 147; Allemande, GWV 140.1;
Rameau: La Poule; Frederike Sophie von Epstein:
Menuets; Zachau: Capriccio; Agrell: Capriccio.
Geneviève Soly, clavecin, commentaires
français; Andrew Talle, musicologiste, commentaires anglais. (14h conférence: Gilles Cantagrel, La tradition de la musique domestique dans
la société allemande du 18e siècle) 285-2000 x4.
> 3:30pm. CHBP. LP. Ravel, Poulenc. Pascale
Beaudin, soprano; Pierre-Étienne Bergeron,
baryton; Marie-Êve Scarfone, piano. 872-5338
> 3:30pm. Maison JMC. 9$. La Musique, c’est de
Famille!. Rythmo-rigolo. (Pour les 3 à 5 ans; 40
minutes) 845-4108. (h 11)
> 3:30pm. McGU(mc) POL. 15-35$. LMMC Concerts.
Mozart, Chostakovitch, Dvorák. Pacifica Quartet;
Roger Tapping, viola. 932-5796
> 3:30pm. Théâtre des Deux-Rives, 30 boul. du Séminaire Nord, St-Jean-sur-Richelieu. 19-50$. Maestria.
Jazz. Al Di Meola; Peo Alfonsi; Julie Lamontagne. 888-443-3949
Monday 5
> 8pm. McGU(mc) TSH. FA. Doctoral Lecture-Recital.
Elinor Frey, cello. 398-4547
Tuesday 6
> 3:30pm. McGU(mc) SCL. FA. Piano Tuesdays. 3984547
> 7pm. UdM-MUS B-421. EL. Opéramania. Deux variations cinématographiques sur Don Giovanni de Mozart.
Films de Barbara Willis Sweet et de Kasper Holten.
343-6479
> 8pm. MBAM SBou. 12-28$. Kassia, compositrice
byzantine du 9e siècle. Kassia: hymnes byzantins;
Michael Popp: improvisations. La Nef; Ensemble
VocaMe; Michael Popp, chef, instruments à
cordes pincées; Sarah M. Newman, Garlinde
Sämann, sopranos; Sigrid Hausen, Petra
Noskaiová, mezzos; Kathrin Feldmann, contralto. 523-3095
Wednesday 7
> 6pm. Maison JMC. 10-20$. La Musique sur un
plateau. Un détour romantique. Schubert: Impromptu #1 en do mineur, op.90; Schumann:
Davidsbündlertänze, op.6; Albeniz: Iberia, Livre 1:
Evocación; El puerto; Liszt: Rhapsodie hongroise #12
en do dièse mineur. Justine Pelletier, piano.
(17h15 apéro) 845-4108
> 6pm. McGU(mc) SCL. FA. String Area. 398-4547. (f
14 21 28)
> 8pm. McGU(mc) TSH. FA. Bassoon Studio. 3984547
> 8pm. McGU(mc) RED. FA. Doctoral Recital. Andrea
Stewart, cello. 398-4547
Thursday 8
> 2pm. MBAM SBou. 10$. Festival Une Fugue au
Musée. Fondation Arte Musica. Walter Boudreau,
Yves Daoust: Le téléphone bien tempéré. Ensemble de la SMCQ (vents, électronique); Walter
Boudreau, chef; Geneviève Soly, clavecin;
Jean-Willy Kunz, orgue; participation du
public, téléphones cellulaires. 285-2000 x4,
800-899-6873
> 7:30pm. McGU(mc) POL. $10. McGill Staff and Guests
Series. Music for Two Pianos. Original compositions,
improvisations, jazz standards. Jan Jarczyk, John
Stetch, piano. 398-4547
> 7:30pm. MBAM SBou. 13-25$. Festival Une Fugue au
Musée. Fondation Arte Musica. Chostakovitch:
Préludes et fugues. David Jalbert, piano. 2852000 x4, 800-899-6873
> 7:30pm. UdM-MUS B-484. EL. Classe de Vladimir
Landsman, violon. 343-6479
> 8pm. CHBP. 15$. Brahms, Franck, Stravinsky.
Stéphane Tétreault, violoncelle; Sasha Guydukov, piano. 872-5338
> 8pm. Église Ste-Famille, 560 boul. Marie-Victorin,
Boucherville. 17-35$. Série Orchestre de chambre.
Répartie pour violon et alto. Keith Bissel: Three Pieces
for Strings; Mozart: Sinfonie concertante pour violon
et alto; Mendelssohn: Octuor. O.S. de Longueuil;
Marc David, chef; Yukari Cousineau, violon;
Brian Bacon, alto. 450-670-1616
> 8pm. Maison de la culture Frontenac, 2550 Ontario
Est. LP. Jeudis Jazz. Volutes. Jazz; Mireille Proulx.
Mireille Proulx, violon; John Sadowy, piano.
872-7882
> 8pm. McGU(mc) SCL. FA. Jazz combos. 398-4547.
(h 2)
> 8pm. McGU(mc) RED. FA. Allegra Chamber Music Series. Beethoven: Duo for clarinet and cello, WoO 27
#3; Hummel: Quartet for clarinet and strings, WoO 5;
Devienne: Quartet for clarinet and strings, op.73 #3;
Mozart: Quartet for clarinet and strings, KV378.
Simon Aldrich, clarinet; Jacques-André
Houle, violin; Ellie Nimeroski, viola; Marcel
Saint-Cyr, cello. 935-3933
Friday 9
> 12:30pm. McGU(mc) RED. FA. McGill Noon-Hour
Organ Recital Series. Willliam Porter, organ. 3984547
> 6pm. MBAM SBou. 13-25$ (44$ pour les 4). Festival
Une Fugue au Musée. Fondation Arte Musica. Le
Clavier bien tempéré 1er de 4. Bach: Préludes et
fugues #1-6, livres 1 et 2. Tom Beghin, pianoforte, clavicorde; Ilya Poletaev, clavecin,
piano. 285-2000 x4, 800-899-6873
> 7pm. UdM-MUS B-421. 9$. Opéramania. Mozart:
Idomeneo, re di Creta. Saimir Pirgu, MarieClaude Chappuis, Julia Kleiter, Eva Mei, Jeremy Ovenden; Nikolaus Harnoncourt, chef.
343-6479
> 7:30pm. CMM SC. 10$. Les ensembles en résidence.
Florestan et Eusebius. Schumann: Phantasiestücke,
op.88; Trio #3, op.110; Dvorák: Quatuor avec piano,
op.87. Trio Hochelaga; Teng Li, alto. 873-4031
> 7:30pm. McGU(mc) TSH. $10. McGill Staff and Guests
Series. A Tribute to Billy Taylor. Lisa Lorenzino, Anh
Phung, Frank Lozano, Dave Gossage, Jennifer Bell, flutes; Dave Watts, bass; Josh
Rager, piano. 398-4547
> 7:30pm. UdM-MUS SCC. EL. Oeuvres vocales, instrumentales, orchestrales. Les Chambristes stupéfiants!; Jean-Eudes Vaillancourt, chef.
343-6427. (f 25)
> 8pm. CHBP. EL. SMCQ Série Hommage/Ana
Sokolovic. Montréal/ Balkans à la Chapelle. Maxime
McKinley: Wirkunst-Nijinski; Michael Pepa: Moldovenesca; Petar-Kresimir Klanac: Ruines; Ivan Brkljacic:
Seven Illustrations and Epilogue or When Ksing and
Dunu met Little Stana (A short History of Belgrade);
André Ristic: Motel Infini; Ana Sokolovic: Portrait
parle. Portmantô Ensemble. 872-5338
> 8pm. Église St-Joachim, 2 Ste-Anne, Pointe-Claire.
8-16$. Grands concerts. Brahms: sonates. Alexandre Da Costa, violon; Wonny Song, piano. 6301220
> 8pm. McGU(mc) POL. FA. Master’s Recital. Krystina
Marcoux, percussion. 398-4547
> 8pm. MBAM SBou. 13-25$. Festival Une Fugue au
Musée. Fondation Arte Musica. Le Clavier bien tempéré 2e de 4. Bach: Préludes et fugues #7-12, livres
1 et 2. Tom Beghin, pianoforte, clavicorde;
Ilya Poletaev, clavecin, piano. 285-2000 x4,
800-899-6873
Saturday 10
> 10am. CMM. EL. Génération 2012. Atelier et mini-concert. ECM+; Véronique Lacroix, chef; Nicolas
Gilbert, commentateur. 524-0173. (f 13 15)
> 10am. CMM SC. 10$. Cours de maître. Benedetto
Lupo, piano. 873-4031
> 1:30pm. CMM. EL. Génération 2012. ECM+. 5240173. (h 10)
> 3:15pm. CMM. EL. Génération 2012. ECM+. 5240173. (h 10)
> 4:30pm. CCC. Freewill offering. Cathedral Concerts.
Schubert, Wolf, Poulenc, Libby Larsen. Naomi Piggot Suchan, piano; Sarah Gilbert, soprano.
843-6577
> 4:30pm. UdM-MUS B-421. EL. Mozart, Beethoven,
Rachmaninov, Franck. Classe de Dang Thai Son,
piano. 343-6479
> 7:30pm. CMM SC. 10$. Les samedis à la carte. Fragments d’expression. ; ; Serge Provost: La cloche du
temple; Denys Bouliane: Contredanse du Silène
Badouny. Ida Toninato, saxophone baryton;
Andy Costello, piano; Jimmie LeBlanc, diffusion. 873-4031
> 7:30pm. MBAM SBou. 13-25$. Festival Une Fugue au
Musée. Fondation Arte Musica. Bach: L’Art de la
fugue; Matthias Maute: Preludium und Fugue. Les
Idées heureuses; Natalie Michaud, chef;
Geneviève Soly, orgue, claveciin. 285-2000 x4,
800-899-6873
> 7:30pm. UdM-MUS B-421. EL. Chopin, Liszt, Rachmaninov. Classe de Marc Durand, piano. 3436479
> 7:30pm. UdM-MUS B-484. EL. Classe d’Eleonora
Turovsky, violon; classe de Yuli Turovsky, violoncelle. 343-6427
> 8pm. CHBP. LP. Tremblement de fer. Pierre Labbé. Ensemble Pierre Labbé. 872-5338
> 8pm. Hôtel de Ville, 435 boul. Iberville, Repentigny.
20-22$. Série Musique du Monde. Album: Zanneh.
Zied Ben Amor, violon, voix; Mohamed Masmoudi, oud; Joseph Khoury, percussion. 450582-6714
> 8pm. McGU(mc) RED. FA. Master’s Recital. Lysandre
Huard-Lefebvre, soprano. 398-4547
> 8pm. UdM-MUS SCC. 10-30$. Ravel: La valse; Debussy: La mer; Mozart: Concerto pour 2 pianos,
K.365. O.S. des jeunes de Montréal; Louis Lavigueur, chef; Suzanne Blondin, Olivier Godin.
piano. 645-0311
> 8:30pm. Bistro Côté Soleil, 3979 St-Denis (près Des
Pins). EL; table d’hôte 33$. Souper & spectacle. Flamenco. Ojos Claros (Julie Trudel, chant; JeanDavid Lupien, guitare; Sonia Rochette,
danse). 282-8037. (f 17 31)
> 8:30pm. Centre des arts Juliette-Lassonde, Espace
Rona, 1705 St-Antoine, St-Hyacinthe. 34$. Cabaret
musique. España. Rodrigo, Albeniz, Falla, Sor, Barrios, Ravel, etc. Alexandre Éthier, guitare;
Alexandre Da Costa, violon; Wonny Song,
piano. 450-778-3388
Sunday 11
PACIFICA QUARTET
concert
PREVIEWS
by RENÉE BANVILLE, CRYSTAL CHAN,
MARIE-ASTRID COLIN, CAROLINE RODGERS
& JACQUELINE VANASSE
MONTREAL
THE PACIFICA QUARTET AND PIANIST
MARC ANDRÉ HAMELIN AT THE LMMC
Formed in the United States in 1994, the Pacifica Quartet has become
the resident quartet of the Metropolitan Museum of Art, replacing the
Guarneri Quartet, who held the position for 43 years. Violist Roger
Tapping will accompany the string quartet. Sunday the 4th. Pianist
Marc-André Hamelin is world renown for his dazzling virtuosity. His
discography includes over 50 titles, which have brought him numerous distinctions. He has a particular interest in rarely played and obscure works. Sunday the 25th at 3:30 p.m, Pollack Hall. www.lmmc.ca RB
VIOLIN AND VIOLA: DIVIDED
Three major works will animate the evening: Bissell’s Three Pieces for
Strings, Grieg’s The Holberg Suite and Mozart’s Sinfonia Concertante
for violin, viola and orchestra, where Yukari Cousineau will play the
violin and Brian Bacon the viola. Marc David will conduct the ensemMC
ble. Thursday the 8th, www.osdl.ca
MONTRÉAL/BALKAN: A PRODUCTION OF
THE CHAPELLE HISTORIQUE DU BON-PASTEUR
Discover the musical richness of South Eastern European composers
at this concert-voyage in Montreal. Alongside works by composers
from the Balkans, the programme includes a piece by Maxime McKinley, resident composer at the Chapelle. Friday the 9th.
First prize in the Orchestre symphonique de Montreal’s 2007 competition, Révélation Radio-Canada for 2011-2012, Stéphane Tétreault
has already accomplished a lot for his age. Invited as a guest this season
by Montreal’s Orchestre Metropolitain as well as the Nouvel Ensemble
Moderne, he will also be welcomed by the Chapelle historique du BonPasteur. He will perform a programme of Stravinsky, Brahms and
Franck on his new instrument, the 1707 Stradivarius, the “Countess of
Stanlein.” Thursday the 8th. www.ville.montreal.qc.ca/chapellebonpasteur RB
A FUGUE AT THE MUSEUM
In connection with the exhibit Lyonel Feininger: from the Bauhaus to
Manhattan, the Montreal Museum of Fine Arts presents eight concerts, including Bach’s complete Well-Tempered Clavier for keyboard
in four concerts, the six Brandenburg Concertos with Ensemble
Caprice, The Well-Tempered Telephone, a work by Walter Boudreau
and Yves Daoust with the SMCQ, harpsichordist Geneviève Soly and
organist Jean-Willy Kunz. Also playing will be pianist David Jalbert
and The Art of Fugue with Les Idées Heureuses. www.sallebourgie.ca RB
> 2pm. MBAM SBou. 13-25$. Festival Une Fugue au
Musée. Fondation Arte Musica. Le Clavier bien tem-
MARCH 2012
19
sm17-6_EN_p18-24_RegCal_sm17-6_FR_pXX 12-03-05 2:58 PM Page 20
péré 3e de 4. Bach: Préludes et fugues #13-18, livres
1 et 2. Luc Beauséjour, Jean-Willy Kunz,
clavecins, clavicythérium, orgues. 285-2000
x4, 800-899-6873
> 3pm. CCPCSH. LP. Rendez-vous du dimanche.
Ysaÿe/Saint-Saëns, Clara Schumann, Brahms, Louise
Farrenc. Duo Ava. 630-1220
> 3:30pm. CHBP. LP. Burgmüller, Schumann, Brahms,
Debussy, Hétu. François Fontaine, clarinette;
François Zeitouni, piano. 872-5338
> 4pm. Maison JMC. CV. Une prière pour Zipangu: concert
bénéfice pour le Japon. Takemitsu, Shirish Korde,
Simon Bertrand; musique traditionelle japonaise.
Claire Marchand, flûte; Takinojo Mochizuki,
tsuzumi, voix; Yoshizumi Koyohide,
shamisen, voix. 845-4108. (f 23)
> 4pm. MBAM SBou. 13-25$. Festival Une Fugue au
Musée. Fondation Arte Musica. Le Clavier bien tempéré 4e de 4. Bach: Préludes et fugues #19-24, livres
1 et 2. Luc Beauséjour, Jean-Willy Kunz,
clavecins, clavicythérium, orgues. 285-2000
x4, 800-899-6873
> 7:30pm. MBAM SBou. 20-40$. Festival Une Fugue au
Musée. Fondation Arte Musica. Bach: Les 6 Concertos Brandebourgeois; Chostakovitch (transcrit par
Matthias Maute): Préludes et fugues, op.87 (e). Ensemble Caprice; Matthias Maute, chef. 2852000 x4, 800-899-6873
> 8pm. Cabaret Le Lion d’Or, 1676 Ontario Est. 25-12$.
SMCQ Série Hommage/Ana Sokolovic. Ana et le Lion
d’Or 2e partie. Ana Sokolovic: Chansons à boire.
Quintette à vent du Québec. 598-0709
> 8pm. PdA MSM. 40$. Les dimanches en musique.
Bartók: Suite de danses; Ravel: Concerto pour piano
pour la main gauche; Pierre Boulez: Livre pour
cordes; Stravinski: Petrouchka. O.S. de Montréal;
Jean-Marie Zeitouni, chef; Benedetto Lupo,
piano. 842-9951
Monday 12
> 6:30pm. UdM-MUS SCC. EL. Chopin, Bach, Rachmaninov. Jean-Simon Gaudreau, piano (programme de doctorat). 343-6479
> 8pm. Maison de la culture Frontenac, 2550 Ontario
Est. LP. Les lundis d’Edgar (Edgar Fruitier, animateur).
Brouillard. Holst, Bartók, Martinu, Jongen, Rebecca
Clarke, Edgar Meyer, Antoine Bareil, Mark O’Connor,
Helmut Lipsky. Antoine Bareil, violon;
Sébastien Lépine, violoncelle. 872-7882
> 8:30pm. UdM-MUS SCC. EL. Messiaen, Haydn, Rachmaninov. Jean-Pierre Calitz, piano (programme de doctorat). 343-6479
Thursday 15
> 7:30pm. CMM Salle multimédia, 4750 Henri-Julien.
10$. La musique d’aujourd’hui; Électro-Chocs. Hommage à Yves Daoust. Yves Daoust; élèves des classes
de composition électroacoustique du Conservatoire.
873-4031
> 7:30pm. McGU(mc) POL. $15-20. Schulich Year of
Early Music; Opera McGill. Monteverdi: L’Incoronazione di Poppea. McGill Baroque Orchestra;
Hank Knox, cond. 398-4547. (f 16 17 18)
> 7:30pm. UdM-MUS B-421. EL. Haydn, Prokofiev, Liszt,
Chopin. Classe de Jimmy Brière, piano. 3436479
> 7:30pm. UdM-MUS B-484. EL. Walton, Hindemith,
Brahms, Martinu, Bach, Bridge. Classe de Jutta
Puchhammer, alto. 343-6427
> 8pm. CHBP. LP. Mozart, Scarlatti, Schumann, Liszt.
Frank Lévy, piano. 872-5338
> 8pm. MC PMR. LP. Pierre Labbé: Tremblement de fer.
Ensemble de 12 musiciens (cuivres, cordes,
percussion, etc.); Pierre Labbé, chef. 872-2266
> 8pm. MBAM SBou. 30-60$. Société de Musique de
Chambre de Montréal. Franck, Corigliano, Debussy,
Herskowitz. Lara St.John, violon; Matt Herskowitz, piano. 285-2000 x4
> 8pm. PdA MSM. 30$. Pierre Boulez: Répons; Claude
Vivier: Pulau Dewata; Varèse: Déserts. O.S. de Montréal; Peter Eotvos, chef; Sixtrum, ensemble
de percussion. 842-9951
Friday 16
> 12:30pm. McGU(mc) RED. FA. McGill Noon-Hour
Organ Recital Series. John Grew, organ. 398-4547
> 6pm. UdM-MUS B-484. EL. Schubert, Haydn, Mozart,
Dvorak, Fauré, Brahms, Beethoven. Classe de Jutta
Puchhammer, musique de chambre. 3436427. (f 20)
> 7pm. UdM-MUS B-421. 9$. Opéramania. Leo: L’Alidoro. Maria Grazia Schiavo, Maria Ercolano,
Valentina Varriale, Giuseppe De Vittorio, Filippo Morace; Antonio Florio, chef. 343-6479
> 7:30pm. Église unie Union, 24 Maple, Ste-Anne-deBellevue. 8-15$. Lakeshore Chamber Music Society.
Purcell, Rameau, Bach, Vivaldi. Recordare Ensemble. 457-5280
> 7:30pm. McGU(mc) POL. $15-20. Schulich Year of
Early Music; Opera McGill. Monteverdi: Poppea.
398-4547. (h 15)
> 8pm. McGU(mc) SCL. FA. Class of Peter Freeman,
saxophone. 398-4547
> 8pm. UdM-MUS B-484. EL. Classe de Puchhammer. 343-6427. (h 18)
Tuesday 13
> 1:30pm. Université de Montréal, campus Laval, 1700
Jacques-Tétreault (angle boul. de l’Avenir; métro
Montmorency), Laval. 12$. Mat_Opéramania. Mozart:
Mitridate, re di Ponto. Gösta Winberg, Yvonne
Kenny, Ann Murray, Anne Gjevang, Joan
Rodgers; Nikolaus Harnoncourt, chef. 7901245, 343-6479. (f 20)
> 3:30pm. McGU(mc) SCL. FA. Piano Tuesdays. 3984547
> 6:30pm. PdA MSM. 30$. Musique de chambre. Kundera et la musique. Smetana: Trio pour piano, violon
et violoncelle; Janacek: Quatuor à cordes #1 “Sonate
à Kreutzer”; Stravinski: Concertino pour quatuor à
cordes. Brigitte Rolland, Katherine Palyga, violon; Natalie Racine, alto; Sylvain Murray, violoncelle; Maneli Pirzadeh, piano; Guy
Nadon, lecteur. 842-9951
> 7:30pm. McGU(mc) TSH. FA. Isaac Chalk, viola
(Golden Violin Award winner). 398-4547
> 7:30pm. UdM-MUS B-484. EL. =. Classe de JeanMarc Bouchard, atelier d’improvisation. 3436427
> 8pm. Chapelle Notre-Dame-de-Bon-Secours, 400 StPaul Est. 10-25$. Purcell, Taverner, Tallis. Kammerchor Stuttgart; Theatre of Early Music; Frieder
Bernius, Daniel Taylor, chefs. 982-2535
Wednesday 14
> 1:30pm. UdM-Longueuil. 12$. Mat_Opéramania.
Puccini: Turandot. Maria Guleghina, Salvatore
Licitra, Tamar Iveri, Luiz-Ottavio Faria, Carlo
Bosi; Giuliano Carella, chef. 790-1245, 343-6479.
(f 21)
> 2:30pm. McGU(mc) SCL. FA. Class of Ingrid
Schmithüsen, vocal styles and conventions.
398-4547
> 5pm. UdM-MUS B-484. EL. Classes de cordes. 3436427
> 6pm. McGU(mc) SCL. FA. String area. 398-4547. (h
7)
> 7:30pm. CMM SC. 10$. Les grands ensembles. Percussif!. Andy Pape, David Friedman, Dave Samuels.
Ensemble de percussions du Conservatoire;
Jean-Guy Plante, chef. 873-4031
> 7:30pm. Le Petit Medley, 6206 St-Hubert (angle Bellechasse). EL. Classe de Vincent Morel, chant
jazz. 343-6427
> 7:30pm. UdM-MUS B-484. EL. Classe de Johanne
Perron, violoncelle. 343-6427
>8pm. Salle André-Mathieu, 475 boul.
de l’Avenir, Laval. 26-50$. Passions baroques. Bach: Suite #1; Concerto pour violon en la mineur; Concerto pour 2
violons; Concerto pour 3 violons. O.S. de Laval;
Jonathan Crow, chef, violon; Andrew Wan, Arianna Warsaw-Fan, violon. 450-667-2040.
20
Saturday 17
> 4:30pm. CCC. Freewill offering. Cathedral Concerts.
Le piano seul. Mozart, Debussy, Chopin, Bach. Chad
Heltzel, piano. 843-6577
> 5pm. McGU(mc) TSH. FA. Bassoon Day Extravaganza.
398-4547
> 5pm. McGU(mc) SCL. FA. Class of Marina Mdivani,
piano. 398-4547
> 7:30pm. McGU(mc) POL. $15-20. Schulich Year of
Early Music; Opera McGill. Monteverdi: Poppea.
398-4547. (h 15)
> 8pm. Église St-François-Xavier, 994 Principale,
Prévost. 20$. Carrefours espagnols. Rodrigo: Concerto
d’Aranjuez. Thierry Bégin-Lamontagne, guitare; Joanne Bégin, piano. 450-436-3037
> 8:30pm. Bistro Côté Soleil, 3979 St-Denis (près Des
Pins). EL; table d’hôte 33$. Ojos Claros. 282-8037.
(h 10)
Sunday 18
> 11am. Hôtel de Ville, 435 boul. Iberville, Repentigny.
18-20$. Série Virtuoso. Haydn: Sonate #59, Hob. 16:
49, Allegro; Schumann: Humoreske, op.20; Bartók:
Suite, op.14; Chopin: Polonaise héroïque, op.53; Liszt:
Valse Mephisto #1, S.514. Charles RichardHamelin, piano. 450-582-6714
> 2pm. Cégep Vanier, Salle A250, 821 boul. Ste-Croix,
St-Laurent. 10$ contribution suggérée. CAMMAC
Montréal, lectures à vue pour choeur et orchestre.
Beethoven: Meeresstille und glückliche Fahrt; T.
Dubois: Les Sept paroles du Christ. Jean-Pierre
Brunet, chef. (durée 3h; partitions fournies; pour
choeur, orchestre complet ou piano seulement)
695-8610; instrumentistes RSVP
> 2pm. McGU(mc) POL. $15-20. Schulich Year of Early
Music; Opera McGill. Monteverdi: Poppea. 3984547. (h 15)
> 2:30pm. McGU(mc) SCL. FA. McGill Conservatory
Suzuki method students. 398-4547
> 3pm. CCPCSH. LP. Rendez-vous du dimanche. Parfum du Brésil. Gismonti, Jobim, Pascaol, Machado.
Trio Expresso. 630-1220
> 3:30pm. CHBP. LP. Franck, Lekeu, Ysayë. Michael
Guttman, violon; Richard Raymond, piano.
872-5338
> 4pm. Église St-Enfant-Jésus-du-Mile-End, 5039 StDominique (coin St-Joseph). EL. Les dimanches en
musique. Fauré: Berceuse; Kreisler: Sicilienne et
Rigaudon; Debussy: Quatuor, op.10; Schubert: Rondo
pour violon et cordes, D.438; Roussel: Sinfonietta,
op.52. Les Petits Violons; Jean Cousineau, dir.
274-1736
> 4pm. PdA MSM. 21-57$. La symphonie lyrique. Mahler:
Symphonie #10, adagio; Zemlinsky: Symphonie
lyrique. Orchestre Métropolitain; Yannick
Nézet-Séguin, chef; Angela Meade, soprano;
Brett Polegato, baryton. (15h gratuit: conférence
MARCH 2012
bilingue) 842-2112
> 4pm. St. James Church, 642 Main Road, Hudson. 2025$. Hudson Chamber Music Series. Cecilia String
Quartet. 450-458-5107, 450-458-4088
> 8pm. McGU(mc) TSH. FA. Class of Tom Beghin,
fortepiano. 398-4547
Monday 19
> 7:30pm. McGU(mc) POL. FA. Master’s Recital, orchestral conducting. Beethoven: Egmont Overture;
Chopin: Piano Concerto #1 in E minor, op.11; Justin
Mariner: Aftermath. Beethoven Orchestra;
François Koh, cond.; Kevin Gan, piano. 3984547
> 8pm. McGU(mc) SCL. FA. Class of Patil Harboyan,
piano. 398-4547
> 8pm. McGU(mc) TSH. FA. Schulich Year of Early Music.
McGill Early Music Student Soloists. 398-4547
>8pm. MBAM SBou. 15-40$. Bizet:
Symphonie; Chan Ka Nin: Treasured
Pasture Leisure Pleasure; R. Strauss:
Concerto pour cor #1, op.11; Delibes: Le
Roi s’amuse. Orchestre de chambre de Montréal; Wanda Kaluzny, chef; Andrea Cesari,
cor. 871-1224, 285-2000 x4.
Tuesday 20
> 1:30pm. Université de Montréal, campus Laval, 1700
Jacques-Tétreault (angle boul. de l’Avenir; métro
Montmorency), Laval. 12$. Mat_Opéramania. Mitridate. 790-1245, 343-6479. (h 13)
> 3:30pm. McGU(mc) SCL. FA. Piano Tuesdays. 3984547
> 4:30pm. UdM-MUS B-421. EL. Semaine Vienne à
Montréal. Conférence: Haydn et son influence sur le
style classique viennois. Avedis Kouyoumdjian,
professeur de piano et de musique de chambre, doyen du département d’interprétation,
UMAS Vienne. 343-6479
> 7:30pm. CMM SC. 10$. Les grands ensembles. Complètement baroque!. Vivaldi, Couperin, Handel, Bach,
Gabrieli. Ensembles baroques du Conservatoire; Luc Beauséjour, Mireille Lagacé, chefs.
873-4031
> 7:30pm. CMM SC. 5$. Les grands ensembles. Vents et
marées 2. Enesco: Dixtuor; Arthur Bird: Sérénade. Ensemble à vent du Conservatoire; Véronique
Lacroix, chef. 873-4031
> 8pm. McGU(mc) TSH. FA. Class of Brian Cherney,
composition. 398-4547
Wednesday 21
> 1:30pm. UdM-Longueuil. 12$. Mat_Opéramania. Turandot. 790-1245, 343-6479. (h 14)
> 1:30pm. UdM-MUS SCC. EL. Semaine Vienne à Montréal. Cours de maître en duo de pianos. Avedis
Kouyoumdjian, professeur de piano et de
musique de chambre, doyen du département d’interprétation, UMAS Vienne. 343-6479
> 4pm. UdM-MUS SCC. EL. Semaine Vienne à Montréal.
Cours de maître en musique de chambre. Avedis
Kouyoumdjian, professeur de piano et de
musique de chambre, doyen du département d’interprétation, UMAS Vienne; Stefan
Kropfitsch, professeur de violoncelle, directeur du département des cordes, UMAS Vienne. 343-6479
> 6pm. McGU(mc) SCL. FA. String area. 398-4547. (h
7)
> 7pm. McGU(mc) POL. FA. McGill Piano Ensembles.
398-4547
> 7:30pm. McGU(mc) RED. FA. McGill Brass. 398-4547
> 8pm. CHBP. LP. Oeuvres originales, improvisation.
Jürg Wickihalder, saxophones; Felix Stüssi,
piano; Christophe Papadimitriou, contrebasse; Pierre Tanguay, batterie. 872-5338
> 8pm. PdA MSM. 40$. Les grands concerts du mercredi 2. R. Strauss: Don Quixote; Brahms: Concerto
pour piano #2. O.S. de Montréal; Kent Nagano,
chef; Neal Gripp, alto; Brian Manker, violoncelle; Boris Berezovsky, piano. 842-9951. (f 22)
Thursday 22
> 5pm. UdM-MUS B-484. EL. Semaine Vienne à Montréal. Conférence: Phrasing and sonority in the classical
tradition. Stefan Kropfitsch, professeur de violoncelle, directeur du département des
cordes, UMAS Vienne. 343-6479
> 6pm. MBAM SBou. 13-25$. Fondation Arte Musica;
Les 5 à 7 en musique. D’un tambour d’eau résonne
l’Afrique de Lilison. Lilison Di Kinara, tambour
d’eau; etc. 285-2000 x4, 800-899-6873
> 8pm. CHBP. LP. Haydn, Chopin, Fauré, Debussy, Liszt,
Scriabine, Messiaen. Tristan Longval-Gagné,
piano. 872-5338
> 8pm. Concordia University, Oscar Peterson Concert
Hall, 7141 Sherbrooke Ouest (Loyola campus). $010. Music Department, faculty concerts. Concordia
Jazz Studies Faculty Ensemble. 848-4848
> 8pm. Maison de la culture Frontenac, 2550 Ontario
Est. LP. Jeudis Jazz. Complicité. Marin Nasturica, Laurent Djintcharadze, Ivanhoe Jolicoeur, Serge Lavoie;
standards jazz. Marin Nasturica, accordéon;
Ivanhoe Jolicoeur, trompette; Laurent
Djintcharadze, piano; Éric Lagacé, contrebasse; Camil Belisle, batterie. 872-7882
> 8pm. McGU(mc) SCL. FA. Class of Tom Davidson,
piano. 398-4547
> 8pm. McGU(mc) POL. FA. McGill Percussion Studio. 398-4547
> 8pm. McGU(mc) TSH. FA. McGill Vocal Quick Study (stu-
dents get a month to prepare a song cycle). Voice students. 398-4547
> 8pm. PdA MSM. 40$. Les grands concerts du jeudi 2
Power Corporation du Canada. OSM, Boris Berezovsky. 842-9951. (h 21)
> 9:30pm. Les Bobards, 4328 boul. St-Laurent (angle
Marie-Anne). 7$ à la porte. Cross Current Music
présente. L’Âge du cuivre: soirée brass band.
L’Orkestre des Pas Perdus; Claude Saint-Jean,
chef. 987-1174
Friday 23
> 12:30pm. McGU(mc) RED. FA. McGill Noon-Hour
Organ Recital Series. Hans-Ola Ericsson, organ.
398-4547
> 1pm. UdM-MUS SCC. EL. Semaine Vienne à Montréal.
Cours de maître en piano. Avedis Kouyoumdjian,
professeur de piano et de musique de chambre, doyen du département d’interprétation,
UMAS Vienne. 343-6479
> 3:30pm. UdM-MUS SCC. EL. Semaine Vienne à Montréal. Cours de maître en violoncelle. Stefan Kropfitsch, professeur de violoncelle, directeur
du département des cordes, UMAS Vienne.
343-6479
> 7pm. UdM-MUS B-421. 9$. Opéramania. Mozart: Così
fan tutte. Miah Persson, Topi Lehtipuu, Anke
Vondung, Luca Pisaroni, Ainhoa Garmendia;
Iván Fischer, chef. 343-6479
> 7:30pm. McGU(mc) TSH. $8. McGill Conservatory
Garage Band. 398-4547. (f 25)
> 7:30pm. PdA MSM. 19-81$. Série Grands Rendezvous. Bach: Passion selon saint Jean, BWV 245. Les
Violons du Roy; La Chapelle de Québec;
Bernard Labadie, chef; Ian Bostridge
(Évangéliste), Neal Davies (Jésus), Karina
Gauvin, Damien Guillon, Nicholas Phan,
Hanno Müller-Brachmann. 842-2112, 866-8422112. (f 20 21 Québec)
> 8pm. CHBP. CV. Une prière pour Zipangu. 8725339. (h 11)
> 8pm. CMM SC. Série Professeurs du Conservatoire.
Musique impressionniste. Debussy: Sonate pour violon et piano; Sonate pour violoncelle et piano;
Quatuor en sol; Franck: Sonate pour violon et piano.
Quatuor Molinari; Suzanne Blondin, Natsuki
Hiratsuka, piano. 527-5515
> 8pm. MA Laval. 25-30$. Productions Belle Lurette.
Moisès Simons: Toi c’est moi. Jocelyne
Cousineau, Jessica Lessard, Eugénie Préfontaire, Marie-Pier Rioux, Samira Tou, sopranos; Marie-Michèle Rivest, mezzo;
André-Nicolas Chantal-Fortin, Frédéric-Antoine Guimond, Nikolaj Van-Omme, ténors;
Martin-Michel Boucher, Benoît Godard,
Michel Métayer, barytons; Jason-Alexandre
Charbonneau, basse; Olivier Gauthier, Johanne Lapierre, Kim Taschereau, comédiens;
Florence Leclerc, Mylène Leduc-Dauphinais,
danseuses. 450-667-2040. (f 24 25)
> 8pm. McGU(mc) SCL. FA. Jazz combos. 398-4547.
(h 2)
> 8pm. McGU(mc) POL. FA. Doctoral Recital. Marjolaine Lambert, violin. 398-4547
> 8pm. Théâtre Rialto, 5723 avenue du Parc. 25-35$.
Opéra Immédiat. Verdi: La Traviata. Sophie De
Cruz, Éric Thériault, Dion Mazerolle; choeur
d’Opéra Immédiat; Dominic Boulianne,
piano. 790-1111. (f 25)
> 8pm. UdM-MUS SCC. EL. Semaine Vienne à Montréal.
Concert Arpeggione. Schubert, Haydn, Mozart,
Brahms. Avedis Kouyoumdjian, piano; Stefan
Kropfitsch, violoncelle; Laurence Kayaleh,
Claude Richard, violon; Jutta Puchhammer
Sédillot, Karine Rousseau, alto; Yegor Dyatchkov, Johanne Perron, violoncelle; Jean
Saulnier, piano. 343-6479
> 9:30pm. Bar St-Maurice, 75 Normandie, Repentigny.
25-27$. Week-end Jazz de Lanaudière. L’Album He
Said She Said. Jazz, folk, flamenco, blues. Peter
Karp, guitare; Sue Foley, voix. 450-582-6714
Saturday 24
> 9am. McGU(mc) POL. FA. McGill Conservatory Concerto
Competition. (until 5pm) 398-4547
> 2pm. MA Laval. 25-30$. Toi c’est moi. 450-6672040. (h 23)
> 2:30pm. McGU(mc) SCL. FA. McGill Conservatory
Student Soloists. 398-4547. (f 16 18 20)
> 4pm. McGU(mc) SCL. FA. Student soloists. 3984547. (h 14)
> 4:30pm. CCC. Freewill offering. Cathedral Concerts.
Beethoven, Chopin. L’Orchestre Romantique;
Francois Koh, chef. 843-6577
> 6pm. McGU(mc) SCL. FA. Student soloists. 3984547. (h 14)
> 7:30pm. CMM SC. 5$. Les grands ensembles. Mozart:
Exultate jubilate, K.158a; Tchaïkovski: Sérénade pour
cordes. Orchestre à cordes du Conservatoire;
Guy Fouquet, chef. 873-4031
> 7:30pm. Église St. Andrew & St. Paul, Sherbrooke
Ouest au bout de la rue Bishop. 10-40$. Gabrieli: Jubilate Deo; Schütz: Psalm 100; W.H. Harris: Faire is
the Heaven; Parry: I was glad; Harry Somers: Gloria;
John Rutter: Gloria. Choeur St-Laurent; Michael
Zaugg, chef; Buzz ensemble de cuivres;
Jonathan Oldengarm, orgue. 483-6922
> 7:30pm. St. Columba-by-the-Lake Church, 11 Rodney, Pointe-Claire. 12$ suggested donation. St.
Columba Concert Series. Beethoven, Schubert:
sonatas for cello and piano; Dvorak: “Dumky” Trio.
sm17-6_EN_p18-24_RegCal_sm17-6_FR_pXX 12-03-05 2:59 PM Page 21
Judy Hung, violin; Iona Corber, cello; Ivana
Lazarov, piano. 364-3027, 697-8015
>8pm. Centre Pierre-Péladeau, Salle
Pierre-Mercure, 300 Maisonneuve Est.
22-42$. Bach: cantates; Miles Davis;
etc. Ensemble Telemann; Raf’s
Jazz Trio; Rafik Matta, chef. 987-6919.
> 8pm. CHBP. 20$. Jazz en rafale. Joel Quarrington.
Joel Quarrington, contrebasse; Jean Desmarais, piano. 597-2477
> 8pm. Église St-François-Xavier, 994 Principale,
Prévost. 20$. No son Cubanos. Musique cubaine.
Guillaume Rochon, piano; Daniel Moranville,
contrebasse; Nicolas Jarret, batterie. 450436-3037
> 8pm. MA Laval. 25-30$. Toi c’est moi. 450-6672040. (h 23)
> 8pm. McGU(mc) TSH. FA. Master’s Recital. Gili Loftus, fortepiano. 398-4547
> 8pm. McGU(mc) SCL. FA. Student soloists. 3984547. (h 14)
> 8pm. McGU(mc) RED. FA. Final Acts. Verdi: La Traviata, Rigoletto, Otello, Falstaff. Opera McGill
Scenes. 398-4547
> 8pm. Théâtre Outremont, 1248 Bernard Ouest. 50$.
Les grands solistes. Chopin, Liszt. Cyprian Katsaris, piano. 495-9944
> 8:30pm. Théâtre du Vieux-Terrebonne, 866 St-Pierre,
Terrebonne. 43$. Les beaux concerts. Beethoven:
Concerto pour piano #1; Symphonie #4. Sinfonia
de Lanaudière; Stéphane Laforest, chef;
André Laplante, piano. 450-492-4777. (f 25)
Sunday 25
> 12pm. Centre de Création artistique de Laval, 430
5e Rue (Laval-des-Rapides), Laval. 10$, croissant et
café inclus. Théâtre d’art lyrique de Laval, Midi-concert. Mélodies, airs d’opéras. 450-687-2230
>2pm. Théâtre Hector-Charland, 225
boul. l’Ange-Gardien, L’Assomption.
33$. Série Classique. Sinfonia de
Lanaudière, André Laplante. 450589-9198. (h 24)
> 2pm. Théâtre Rialto, 5723 avenue du Parc. 25-35$.
Opéra Immédiat. La Traviata, Opéra Immédiat.
790-1111. (h 23)
> 2:30pm. St. John’s Lutheran Church, 3594 JeanneMance (coin Prince-Arthur). Freewill offering. Serenata at St. John’s. Bach: Brandenburg Concerto #5;
cantata “Liebster Gott, wenn werd ich sterben?”,
BWV 8; M. Haydn: Deutsches Magnificat; Mozart: Ave
verum corpus, K.618; Ave Maria, K.554; Franck: Panis
angelicus; Tallis: Glory to Thee, O God, this night.
Montréal Children’s Choir; Andrew Gray,
cond.; 10 musicians (winds, strings, etc.);
Julie Ryning, soprano; Kathrin Welte, mezzo.
844-6297
> 3pm. MA Laval. 25-30$. Toi c’est moi. 450-6672040. (h 23)
> 3pm. McGU(mc) TSH. $8. Garage Band. 398-4547.
(h 23)
> 3:30pm. CHBP. LP. Brahms, Beethoven. Ian Parker,
piano. 872-5338
> 3:30pm. McGU(mc) POL. 15-35$. LMMC Concerts.
Marc-André Hamelin, piano. 932-5796
> 5pm. McGU(mc) RED. FA. Master’s Recital. Garry
McLinn, tenor. 398-4547
> 7pm. McGU(mc) TSH. $8. McGill Conservatory
Jazz Combos. 398-4547
> 7:30pm. UdM-MUS SCC. EL. Chambristes stupéfiants. 343-6427. (h 9)
> 8pm. McGU(mc) POL. FA. Doctoral Recital. Jeremy
Chaulk, piano. 398-4547
Monday 26
> 3pm. UdM-MUS B-484. EL. Cours de maître. Lise
Daoust, flûte. 343-6427
> 5pm. McGU(mc) SCL. FA. Jazz. Saxophone students. 398-4547
> 5pm. UdM-MUS B-421. EL. Scriabine, Liszt, Dutilleux.
Classe de Maneli Pirzadeh, piano. 343-6479
> 7pm. McGU(mc) POL. FA. Class of Sara Laimon,
piano. 398-4547
> 7:30pm. CMM SC. EL. Les chambristes du Conservatoire. 873-4031. (f 27 28 29)
> 7:30pm. McGU(mc) TSH. $10. McGill Jazz Orchestra 2; Ron Di Lauro, director. 398-4547
>7:30pm. MBAM SBou. 20-45$.
Baroque Romantique. Handel, Telemann, Vivaldi, Matthias Maute. Orchestre de chambre McGill;
Sophie Larivière, Matthias Maute, flûte à bec.
285-2000 x4.
> 7:30pm. UdM-MUS B-421. EL. Bach, Beethoven,
Chopin, Descarries, Ravel, Scriabine, Rachmaninov,
Prokofieff. Classe de Jean Saulnier, piano. 3436479
> 8pm. McGU(mc) RED. FA. Master’s Recital. Kate
Bevan-Baker, violin. 398-4547
Tuesday 27
> 3:30pm. McGU(mc) SCL. FA. Piano Tuesdays. 3984547
> 7pm. McGU(mc) TSH. FA. Class of Ilya Poletaev,
piano. 398-4547
> 7pm. McGU(mc) POL. FA. McGill Lab Band. 3984547
> 7:30pm. CMM SC. EL. Chambristes. 873-4031. (h
26)
> 7:30pm. UdM-MUS SCC. 0-12$. Les profs virtuoses.
Jazz classique et avant-garde. Big Band de l’Université de Montréal; Ron Di Lauro, chef; Dany
Roy, saxophone; Jean-Nicolas Trottier, trombone; Ron Di Lauro, trompette; Mike Gauthier, guitare; Frédéric Alarie, basse; Paul
Brochu, batterie. 790-1245, 343-6427
> 8pm. PdA MSM. 40$. Les grands concerts du mardi
Homeocan. Wagner: Der fliegende Holländer, ouverture; Prokofiev: Concerto pour violon #2; Berlioz:
Symphonie fantastique. O.S. de Montréal; Kent
Nagano, chef; Vadim Repin, violon. 842-9951.
(f 29 31)
> 8:30pm. UdM-MUS B-484. EL. Gismonti, Zenamon,
Cardoso, Castelnuovo-Tedesco, Brindle. Danilo
Bogo, guitare (programme de doctorat). 3436427
Wednesday 28
> 1:30pm. UdM-Longueuil. 12$. Mat_Opéramania.
Symphonies. Dvorak: Symphonie #9 “Du Nouveau
Monde”. Orchestre Philharmonique de Berlin;
Herbert von Karajan, chef. 790-1245, 343-6479
> 6pm. McGU(mc) SCL. FA. String area. 398-4547. (h
7)
> 7:30pm. CMM SC. EL. Chambristes. 873-4031. (h
26)
> 7:30pm. McGU(mc) POL. $10. Jazz Orchestra 1;
Gordon Foote, director. 398-4547
> 7:30pm. McGU(mc) RED. $10. McGill Staff and Guests
Series. Mozart, Beethoven, Balduin Sulzer, Prokofiev.
Regina Brandstaetter, violin; Kyoko
Hashimoto, piano. 398-4547
> 7:30pm. UdM-MUS B-484. EL. Classe de Paul Marcotte, cuivres. 343-6427
> 8pm. Concordia University, D.B. Clarke Theatre, 1455
Maisonneuve Ouest (Hall Building). $0-5. Music Department, student concerts. Jazz. Class of Jeri
Brown, voice. 848-4848
> 8pm. MC PMR. LP. Charlie Parker, John Coltrane,
Dizzy Gillespie, Miles Davis. Les Boppers. 872-2266
> 8pm. McGU(mc) TSH. FA. Class of Luba Zuk,
piano. 398-4547
Thursday 29
> 7pm. McGU(mc) TSH. FA. McGill Student Soloists.
398-4547
>7:30pm. Centre Segal des arts de la
scène, 5170 chemin Côte-Ste-Catherine. 15-25$. Women of the World Series. Natalie Choquette, soprano.
739-7944.
> 7:30pm. CMM SC. EL. Chambristes. 873-4031. (h
26)
> 7:30pm. UdM-MUS B-484. EL. L’Ancien et le Nouveau.
Bach, Marais, Mazzocchi, Purcell, Dumont; William
Kraushaar, P.F.R. Velasco, étudiants en composition.
Atelier de musique baroque; Margaret Little,
chef. 343-6427
> 7:30pm. UdM-MUS B-421. EL. Lemay, Desenclos,
Denisov, Rossé, Berio. Classe de Jean-François
Guay, saxophone. 343-6479
> 8pm. CHBP. LP. Schumann, Prokofiev, De Falla, SaintSaëns. Élisabeth Dolin, violoncelle; Paul Stewart, piano. 872-5338
> 8pm. MC PMR. LP. Castelnuovo-Tedesco/Juan
Ramon Jiménez: Platero et moi. André Rodrigues,
guitare; Marcela Pizarro Minella, narration.
872-2266
> 8pm. McGU(mc) SCL. FA. Jazz combos. 398-4547.
(h 2)
> 8pm. PdA MSM. 40$. Les grands concerts du jeudi
Air Canada. OSM, Vadim Repin. 842-9951. (h 27)
Friday 30
> McGU(mc) SCL. FA. Piano Ensembles. 398-4547
> 6:30pm. UdM-MUS SCC. EL. Strauss, Glazunov.
Uliana Drugova, violon (programme de doctorat); Louise-Andrée Baril, piano. 343-6427
> 7pm. Église Ste-Thérèse-de-l’Enfant-Jésus, 8200 StHubert. CV. Pergolesi: Stabat Mater; Vivaldi: Gloria
(e). Julie Daoust, soprano; Sonia Loyer,
mezzo; Nina De Sole, orgue. 271-8605
> 7pm. UdM-MUS B-421. 9$. Opéramania. Massenet:
Manon. Anna Netrebko, Rolando Villazón, Alfredo Daza, Christof Fischesser, Rémy
Corazza; Daniel Barenboim, chef. 343-6479
> 7:30pm. McGU(mc) POL. $10. Chris Paul Harman:
Amerika; Sean Ferguson: Apocryphal Graffiti; etc.
McGill Contemporary Music Ensemble; Christian Gort, cond. 398-4547
> 8pm. CCC. Freewill offering. Cathedral Concerts.
Messiaen: Le Catalogue des oiseaux (e); etc. Andrew Beer, violin; Peter Hill, piano; Patrick
Wedd, organ. 843-6577
> 8pm. Concordia University, Oscar Peterson Concert
Hall, 7141 Sherbrooke Ouest (Loyola campus). $010. Music Department, student concerts. Jazz
Studies Scholarship Laureates. 848-4848
> 8pm. McGU(mc) RED. FA. Class of Elizabeth Dolin,
cello. 398-4547
> 8pm. McGU(mc) TSH. FA. McGill Chamber Jazz
Ensemble. 398-4547
Saturday 31
> 1pm. Ciné-Met MTL2. 19-26$. MetOp_HD, Encore1.
Verdi: Ernani (durée approx. 3h50min). Angela
Meade, Marcello Giordani, Roberto DeBiasio,
Dmitri Hvorostovsky, Ferruccio Furlanetto.
(f 31 Québec; 31 Ailleurs au QC; 31 OttawaGatineau)
PREVIEWS
ROSSINI’S MOST BEAUTIFUL ARIAS BY THE
ATELIER LYRIQUE OF OPÉRA DE MONTRÉAL
Rossini and his Muses: The Big Banquet.
Rossini, in his final years, remembers significant moments and encounters in his epicurean existence. With excerpts from,
amongst others, The Barber of Seville, The
Italian Girl in Algiers, Cinderella and
William Tell. Conducted by Claude Webster,
with stage direction by Marie-Nathalie Lacoursière. With Karine Boucher, Emma
Parkinson, Isaiah Bell, Jean-Michel Richer
and Tomislav Lavoie (guest artist). On the
piano: Tina Chang. Monument-National,
March 10th, 13th, 15th and 17th at 7:30 p.m.
www.operademontreal.com
Mezzo-Soprano
EMMA PARKINSON
RB
MOZART’S CONCERTO FOR TWO PIANOS
The Orchestre symphonique des jeunes de Montréal, conducted by Louis
Lavigueur, presents its second concert this season. Among Maurice
Ravel’s La Valse and Claude Debussy’s La Mer, pianists Suzanna Blondin
and Olivier Godin will perform Mozart’s Concerto for Two Pianos in E
RB
Minor. Saturday the 10th, salle Claude-Champagne. www.osjm.org
BAROQUE PASSIONS
The evening will be dedicated to Bach. Conductor Jonathan Crow and
violinists Andrew Wan and Arianna Warsaw-Fan will immerse audiences in a baroque atmosphere. On the programme: the Suite No.1 in
E Major, the Violin Concerto in A Minor, the Concerto for Two Violins, and the Triple Concerto. Wednesday the 14th. www.osl.qc.ca MC
MCGILL PRESENTS A MONTEVERDI OPERA
For the Schulich Year of Early Music, the McGill Baroque Orchestra,
with artistic direction by Hank Knox, presents Monteverdi’s L’Incoronazione di Poppea. Patrick Hansen, director of opera studies, will
conduct students of the Schulich School of Music and will also be in
charge of the staging. The 15th, 16th and 17th at 7:30 p.m. and the 18th
at 2 p.m., Pollack Hall, 514-398-4535.
RB
BRASS & ORGAN JOIN ST. LAWRENCE CHOIR
The BUZZ brass ensemble and organist Jonathan Oldengarm join the
St. Lawrence Choir in an evening of choral music on March 24th.
Alongside traditional hymns there will also be new music, including
John Rutter’s Gloria. The concert will be at the Church of St. Andrew
and St. Paul, where Oldengarm is the Director of Music.
www.choeur.qc.ca
CC
MUSIC TO HELP FIGHT POVERTY
Singers from the Atelier lyrique of Opéra de Montréal and baritone
Étienne Dupuis will participate in a benefit event with proceeds going
to the Société Saint-Vincent de Paul de Montréal, on the 20th. Called
Une soirée sous les étoiles pour le Rêve d’Ozanam, the event will take
place at The Belvedere in the Montréal Science Centre. Works by Quebec painters will be up for auction, with proceeds being used to finance “L’Art pour L’Art”, a new art therapy program conceived for
disadvantaged youth. Cocktails are at 6 p.m. and a meal with a regional concept will be served. The tickets are on sale for $300; a few
CR
tables are still available. http://lerevedozanam.wordpress.com
ROMANTIC BAROQUE AT THE MCO
Recorder virtuosos Matthias Maute and Sophie Larivière, artistic directors of Ensemble Caprice, are invited by the MCO for the Romantic Baroque concert. On the programme are works by Handel,
Telemann, Vivaldi and Maute. Monday the 26th at salle Bourgie.
www.ocm.mco.org
RB
MARCH 2012
21
sm17-6_EN_p18-24_RegCal_sm17-6_FR_pXX 12-03-05 2:59 PM Page 22
PREVIEWS
VADIM REPIN
PHOTO Kasskara/DG
QUEBEC CITY
JUSTINE PELLETIER AT SALLE D’YOUVILLE
March 8th, the Jeunesses Musicales du Canada presents Justine Pelletier at salle D’Youville of Palais Montcalm. This promising young
Quebec pianist just finished her studies at New York’s prestigious The
Juilliard School. She will perform a predominantly romantic programme, with works by Schubert, Chopin, Albeniz and Liszt.
www.palaismontcalm.ca
JV
BACH, SCARLATTI, AND LES VIOLONS DU ROY
Les Violons du Roy will hold several beautiful concerts at salle RaoulJobin of Palais Montcalm this spring. On March 20th and 21st, conducted by Bernard Labadie and in collaboration with La Chapelle de
Québec, they will present Bach’s St. John Passion. Joining them will
be Ian Bostridge, tenor (evangelist), Neal Davies, bass-baritone
(Jesus) and Karina Gauvin, soprano. (Also in Montreal, Friday the
23rd, Maison symphonique.) Finally, April 6th, soprano Shannon Mercer and mezzo-soprano Meg Bragle will join the string orchestra to
JV
perform the Scarlatti’s Stabat Mater. www.violonsduroy.com
MURRAY PERAHIA AT
CLUB MUSICAL DU QUÉBEC
Pianist Murray Perahia, exceptional musician and disciple of Vladimir
Horowitz, will perform at the Club Musical de Quebec on March 20th.
On the programme will be Bach’s French Suite No. 5, a piece he is very
well known for playing, as well as Beethoven’s Sonata No. 27, Brahm’s
Klavierstücke, Schubert’s Sonata in A Major, and many works by
JV
Chopin. www.clubmusicaldequebec.com
OSQ: BEYOND THE SCORE TM
On March 21st at 10 a.m., at the Grand Théâtre de Québec, the Orchestre symphonique de Québec is offering a particular and remarkable
concert: Tchaïkovski à l’heure du multimédia. This presentation is the
French version of the concert Beyond the ScoreTM, written and created
by Gerard McBurney (composer, musicologist and director at the BBC).
The concept is to make important works in the classical repertoire more
accessible and captivating by coupling their performance with a multimedia prologue that introduces the audience to the composer’s world
and the origin of his work. Tchaïkovski à l’heure du multimédia will
JV
highlight Tchaikovsky’s Symphony no. 4. www.osq.org
VADIM REPIN AND THE OSM IN QUEBEC
On March 28th at 7:30 p.m., the Grand Théâtre de Québec welcomes
important guests. In fact, the musicians from the Orchestre symphonique de Montréal will be passing through the capital. Conducted
by Kent Nagano, they will perform Wagner,s Overture from The Flying Dutchman and Berlioz’s Symphonie fantastique. Russian violinist Vadim Repin will join them in Prokofiev’s Concerto No. 2.
www.grandtheatre.qc.ca
22
JV
MARCH 2012
>2pm. CHBP. 10-25$. SMCQ Série
Hommage/Ana Sokolovic; SMCQ Série
montréalaise. Louise Bessette: 30 ans de
carrière. Ana Sokolovic: City Songs (cr);
Serge Arcuri: Les sabliers de la mémoire (cr); Michael
Oesterle: Trois représentations du feu (cr); Scelsi:
Suite #9: Ttai; Walter Boudreau: Les planètes; Messiaen: Visions de l’Amen; Stravinsky: Le sacre du
printemps. Ensemble ARTefact; Olga Ranzenhofer, violon; Louise Bessette, Peter Hill,
piano. 872-5338.
> 3:30pm. CMM SC. 5$. Les grands ensembles. Telemann: Concerto à quatre; Vivaldi: Concerto pour 2
violons; Mozart/Sandra Dackow: Symphonie #12;
Alexander von Kreisler: Prélude; Elliot Del Borgo:
Celtic Fiddle Tune. Orchestre à cordes junior du
Conservatoire; Thomasine Leonard, chef.
873-4031
> 4pm. McGU(mc) TSH. FA. G.D.P.P. Nicholas Chalk,
double bass. 398-4547
> 4:30pm. CCC. Freewill offering. Cathedral Concerts.
La flûte baroque. Bach, Handel, Gluck. Jonathan
Bailey, flûte; David Henkelman, clavecin.
843-6577
> 5pm. McGU(mc) SCL. FA. Class of Martin Karlicek,
piano. 398-4547
> 5pm. McGU(mc) POL. FA. McGill Chamber Music
Ensembles. 398-4547. (f 20)
> 7:30pm. Église St-Jean-Baptiste, 309 Rachel Est. 10$.
Les grands ensembles. Debussy: Nocturnes; Rossini:
Petite Messe solennelle. O.S. du Conservatoire;
choeur du Conservatoire; choeur de l’école
secondaire Joseph-François-Perrault; Louis
Lavigueur, chef. 873-4031. (f 1/4)
> 7:30pm. St. George’s Anglican Church, La
Gauchetière angle Peel. 30$. Concert 20e Anniversaire. Pergolesi: Stabat Mater; Rheinberger: Messe
en la majeur, op.126; Ropartz: Messe brève pour
Ste-Anne; Schubert: Ständchen; Eric Whitacre: Five
Hebrew Love Songs. Ensemble vocal féminin
Modulation; Lucie Roy, chef; Ana Drobac, Caroline Chéhadé, violon; Margaret Carey, alto;
Octavie Dostaler, violoncelle; Jacques
Boucher, orgue; Huberte Lanteigne, piano.
(Lancement du disque “Inspiration sacrée”, XXI-21
Productions) 450-933-3969
>8pm. Église Ste-Rose-de-Lima, 219
boul. Ste-Rose, Laval. 10$. Romantique
Russie. Rachmaninov: Concerto pour
piano #2, Tchaïkovsky, Symphonie #4;
Brahms, Ouverture académique; Bruch, Kol Nidrei.
Orchestre Philharmonique Équitable; André
Gauthier, chef; Steven Massicotte, piano. 438876-8673.
> 8pm. McGU(mc) SCL. FA. Class of Julia Gavrilova,
piano. 398-4547
> 8pm. McGU(mc) TSH. FA. Class of Winston Purdy,
voice. 398-4547
> 8pm. McGU(mc) POL. FA. Chamber ensembles.
398-4547. (h 17)
> 8pm. PdA MSM. 40$. Les grands samedis OSM. OSM,
Vadim Repin. 842-9951. (h 27)
> 8:30pm. Bistro Côté Soleil, 3979 St-Denis (près Des
Pins). EL; table d’hôte 33$. Ojos Claros. 282-8037.
(h 10)
APRIL
Sunday 1
> 11am. Maison JMC. 9$. La Musique, c’est de Famille!.
Tête de violon. Marie-Hélène da Silva, violon,
animation. (Pour les 3 à 5 ans; 40 minutes) 8454108. (f 13)
> 1:30pm. Maison JMC. 9$. La Musique, c’est de
Famille!. Tête de violon. (Pour les 6 à 8 ans; 50
minutes) 845-4108. (h 11)
> 2pm. Église unie Mont Bruno, 25 Lakeview, StBruno. 20-22$. Musique sacrée. Grégorien; Mozart:
Requiem; Fauré: Requiem; Schubert, Bach, etc.
Choeur Vivace; Carmen Girard, chef; Guylaine Flamand, piano. 450-670-1630
>2:30pm. Centre Segal des arts de la
scène, 5170 chemin Côte-Ste-Catherine. 20-30$. Musica Camerata Montréal. Viennoiseries. Johann Strauss II,
Lanner, Schrammel, Kalman. Luis Grinhauz, Van
Armenian, violon; Lambert Chen, alto; Mariève Bock, violoncelle; Eric Chappell, contrebasse; Berta Rosenohl, piano; etc. 739-7944,
489-8713.
> 3pm. CCPCSH. LP. Rendez-vous du dimanche.
Beethoven, Brahms, Ravel. Vanessa Husaruk, violon. 630-1220
> 3pm. Église de la Purification B.V.M., 445 NotreDame, Repentigny. 25$. Série Art et Spiritualité.
Handel: Messiah, choeurs; Verdi, Gounod, etc.:
choeurs “sacrés”. Ensemble vocal Vox Luminosa; Claudel Callender, dir.; Jacques Giroux,
orgue. (Prix de présence: livres, CD) 450-581-2482
x3
> 3pm. Église St-Pierre-Apôtre, 1201 Visitation. 1045$. Beautés mystérieuses. Lassus: Psaumes de la
Pénitence (e). Studio de musique ancienne de
Montréal; Christopher Jackson, chef. 861-2626
> 3:30pm. CHBP. LP. Bach. Martin Robidoux,
clavecin. 872-5338
> 3:30pm. Théâtre des Deux-Rives, 30 boul. du Séminaire Nord, St-Jean-sur-Richelieu. 19-44$. Maestria.
Marie-Josée Lord. 888-443-3949
> 7:30pm. Église St-Jean-Baptiste, 309 Rachel Est. 10$.
Les grands ensembles. Rossini: Petite Messe
solennelle. 873-4031. (h 31/3)
> 8pm. CHBP. LP. Denis Plante. Tango Boréal. 8725338
Tuesday 3
> 1:30pm. Université de Montréal, campus Laval, 1700
Jacques-Tétreault (angle boul. de l’Avenir; métro
Montmorency), Laval. 12$. Mat_Opéramania.
Rossini: Il Barbiere di Siviglia. David Malis, Jennifer Larmore, Richard Croft, Renato Capecchi, Simone Alaimo; Alberto Zedda, chef.
790-1245, 343-6479
Wednesday 4
> 1:30pm. UdM-Longueuil. 12$. Mat_Opéramania.
Lully: Atys. Bernard Richter, Stéphanie d’Oustrac, Emmanuelle de Negri, Nicolas Rivenq;
William Christie, chef. 790-1245, 343-6479
> 7:30pm. MBAM SBou. 25-50$. Fondation Arte Musica. A. Scarlatti: Stabat Mater; Legrenzi, Bertali,
Marini: musique de chambre. Les Violons du Roy;
Bernard Labadie, chef; Shannon Mercer, soprano; Meg Bragle, mezzo. 285-2000, 800-8996873
> 8pm. MC PMR. LP. Vincent Gagnon: compositions
originales extraites de l’album Himalaya. Vincent
Gagnon, piano. 872-2266
> 8pm. PdA MSM. 40$. Les grands concerts du mercredi 1. Prokofiev: L’Amour des trois oranges, suite;
Concerto pour violon #1; Ana Sokolovic: Concerto
pour orchestre; Debussy: La Mer. O.S. de Montréal;
Stéphane Denève, chef; Hilary Hahn, violon.
842-9951. (f 5)
> 8pm. Théâtre Hector-Charland, 225 boul. l’AngeGardien, L’Assomption. 60-62$. Série Jazz. Miller: In
The Mood; Moonlight Serenade; Chattanooga Choo
Choo; String Of Pearl; Tuxedo Junction. Glenn
Miller Band (orchestre, chanteurs). 450-5826714
Thursday 5
> 2pm. MBAM SBou. 20-40$. Fondation Arte Musica;
Série Concerts Espresso (reprises écourtées du concert de la veille, animées par les chefs, sans entracte). A. Scarlatti: Stabat Mater. Les Violons du
Roy; Bernard Labadie, chef; Shannon Mercer,
soprano; Meg Bragle, mezzo. 285-2000, 800899-6873
> 7:30pm. Théâtre Outremont, 1248 Bernard Ouest.
20$. Horizons Est. Smetana: La Fiancée vendue, ouverture; Kodály: Danses de Galanta; Bartók: Le Mandarin merveilleux. Orchestre Métropolitain;
Julian Kuerti, chef; Stéphane Tétreault, violoncelle. 495-9944
> 8pm. PdA MSM. 40$. Les grands concerts du jeudi 2
Power Corporation du Canada. OSM, Hilary Hahn.
842-9951. (h 4)
> 8pm. Théâtre de la Ville, Salle Pratt & Whitney, 150
Gentilly Est, Longueuil. 25-55$. Série Grands concerts. Méditation et exubérance. Massenet: Méditation de Thaïs; Saint-Saëns: Introduction et Rondo
capriccioso; Berlioz: Symphonie fantastique. O.S. de
Longueuil; Marc David, chef; Boson Mo, violon. 450-670-1616
Friday 6
>3pm. MBAM SBou. 13-40$. Fondation
Arte Musica. Concert de la Passion.
Graupner: Considérations sur les souffrances de notre Sauveur. Ensemble
des Idées heureuses; Les Plaisirs d’Orphée,
quatuor vocal; Florian Heyerick, chef; Swantje Hoffmann, violon; Geneviève Soly, orgue.
(14h conférence: Florian Heyerick, Geneviève Soly,
La tradition de la musique de la Passion en Allemagne: les cycles de Christoph Graupner) 285-2000
x4.
> 7:30pm. PdA MSM. 50-70$. Handel: Messiah. Orchestre de chambre I Musici de Montréal;
Choeur du Studio de Musique Ancienne de
Montréal; Jean-Marie Zeitouni, chef; Dominique Labelle, soprano; Matthew White,
contreténor; Antonio Figueroa, ténor;
Michael Dean, basse. 982-6038 / 866-842-2112
> 7:30pm. UdM-MUS B-421. 9$. Opéramania. Verdi: La
Traviata. Renée Fleming, Joseph Calleja,
Thomas Hampson, Eddie Wade, Sarah Pring;
Antonio Pappano, chef. 343-6479
> 8pm. Église St-Jean-Baptiste, 309 Rachel Est. 4055$. Grand concert du Vendredi saint. Beethoven:
Missa Solemnis. Choeur universitaire de Lausanne; Choeur de l’UQAM; Orchestre de la Société Philharmonique de Montréal; Miklós
Takács, chef; Eugène Husaruk, violon; Chantal Dionne, Johanne Patry, Steeve Michaud,
Marc Boucher. (300 artistes sur scène) 790-1245,
842-2112
Saturday 7
> 12pm. Ciné-Met MTL1. 19-26$. MetOp_HD, Live.
Massenet: Manon (durée approx. 4h05min). Fabio
Luisi, cond.; Anna Netrebko, Piotr Beczala,
Paulo Szot. (f 7 Québec; 7 Ailleurs au QC; 7 Ottawa-Gatineau)
sm17-6_EN_p18-24_RegCal_sm17-6_FR_pXX 12-03-05 2:59 PM Page 23
14
15
QUEBEC REGION
15
Unless indicated otherwise, events are in Québec, and
the area code is 418. Main ticket counter: Billetech 670-9011, 800-900-7469
Ciné-Met Québec (for MetOp_HD broadcasts) Cinéplex Odeon Beauport, 825 Clémenceau, Beauport;
Cinéplex Odeon Ste-Foy, 1200 boul. Duplessis, SteFoy
GTQ Grand Théâtre de Québec, 269 boul. RenéLévesque Est, 643-8131, 877-643-8131: SLF Salle
Louis-Fréchette
PalM Palais Montcalm, 995 place d’Youville, 670-9011:
SRJ Salle Raoul-Jobin; Youv Salle d’Youville
ULav Université Laval, Cité universitaire, Ste-Foy: SHG
Salle Henri-Gagnon (3155), Pavillon Louis-JacquesCasault (Faculté de musique); TCU Théâtre de la
Cité universitaire, Pavillon Palasis-Prince
17
MARCH
19
1 8pm. GTQ SLF. 35-64$. Coups de Foudre HydroQuébec. Mardi gras à la Nouvelle-Orléans: musique
Dixieland. St. Louis Blues, Sweet Georgia Brown,
Alexander’s Ragtime Band; hommage à Louis
Armstrong. O.S. de Québec; Richard Lee, chef;
Byron Stripling, trompette, voix. 643-8486,
877-643-8486. (f 2)
1 8pm. ULav SHG. EL. Professeurs en concert. Zbigniew Borowicz, contrebasse; Guylaine Flamand, piano. 656-7061
2 2pm. PalM SRJ. 20-48$. Série Commentaires sur
mesure. Intensément piano. Liszt: Malédiction;
Honegger: Symphonie #2, H.153; Chostakovitch:
Concerto pour piano #1. Les Violons du Roy;
Jean-Marie Zeitouni, chef; Stewart
Goodyear, piano. (concert commenté) 6416040, 877-641-6040
2 8pm. GTQ SLF. 35-64$. Coups de Foudre HydroQuébec. OSQ, Dixieland. 643-8486, 877-6438486. (h 1)
2 8pm. PalM SRJ. 20-68$. Série Grands Rendez-vous.
Intensément piano. Liszt: Malédiction; Honegger:
Symphonie #2, H.153; Chostakovitch: Concerto
pour piano #1; Lekeu: Adagio pour orchestre à
cordes, op.3. Les Violons du Roy; Jean-Marie
Zeitouni, chef; Stewart Goodyear, piano;
Benjamin Raymond, trompette. 641-6040,
877-641-6040
3 1pm. Ciné-Met Québec. 19-26$. MetOp_HD, Encore1. The Enchanted Island. (h 3 Montréal)
3 8pm. ULav SHG. EL. Classe de Patricia Fournier,
chant; Marie Fortin, Jean-François Mailloux,
piano. 656-7061
4 2pm. Église des Sts-Martyrs-Canadiens, 735 PèreMarquette (près de Murray). 6-10$. Les Amis de
l’Orgue de Québec. Liszt, Schumann. MarieHélène Greffard, orgue. 386-2969
4 2pm. ULav SHG. EL. Musiciens en herbe. Élèves de
l’École préparatoire de musique AnnaMarie Globenski. 656-7061
4 2pm. ULav Salle Lucien-Brochu (1531), Pavillon
Louis-Jacques-Casault (Faculté de musique), Cité
universitaire, Ste-Foy. 5-7$. CAMMAC région de
Québec; lecture à vue pour choeur. T. Dubois: Les
sept paroles du Christ. Guy Bélanger, chef. (Ouvert aux choristes amateurs; partitions fournies
(RSVP)) 681-2117
6 10am. PalM Youv. 15-26$. La Cigale et Les Violons.
Les Violons du Roy; Éric Paetkau, chef;
Catherine Perrin, clavecin. 641-6040
7 8pm. GTQ SLF. 35-64$. Symphonique à souhait.
Une odyssée. Beethoven: Symphonie #3: Marche
funèbre; R. Strauss: Métamorphoses; Ainsi parlait
Zarathoustra. O.S. de Québec; Orchestres du
Conservatoire de musique de Québec et de
la Faculté de musique de l’Université Laval;
Jean-François Rivest, chef. (19h Prélude au
concert: présentation musicologique des oeuvres
au programme) 643-8486, 877-643-8486
7 8pm. PalM Youv. 25$. Classique. Kassia: hymnes
byzantins. Ensemble vocal feminin VocaMe;
Michael Popp, chef. 641-6040
8 8pm. PalM Youv. 25$. Classique. Schubert: Impromptus #1 et 3; Chopin: Barcarolle, op.60. Justine Pelletier, piano. 641-6040
11 8pm. ULav SHG. EL. Professeurs en concert.
Musique brésilienne. Rodrigo Baggio, Tom Jobim,
Luis Bonfa, Raul de Barros, Pixiguinha. James C.
Lebens, trombone; Rodrigo Baggio, guitare;
David Henrique de Souza, chant. 656-7061
12 8:30pm. PalM Youv. 30$. Ambiance des bistros
français. Marcel Azzola, accordéon; Lina
Bossatti, piano. 641-6040. (f 13)
13 8pm. ULav TCU. 10-15$. Atelier d’opéra. Menotti:
The Medium; The Telephone; Poulenc: La Voix humaine. Classes de Michel Ducharme et Patricia Fournier, chant; Anne-Marie Bernard,
piano. 656-7061. (f 15 17)
13 8:30pm. PalM Youv. 30$. Ambiance des bistros.
16
17
17
18
20
20
21
21
21
21
22
22
23
23
28
28
28
29
29
30
30
31
31
31
641-6040. (h 12)
8pm. PalM SRJ. 56$. Musique du Monde. Chatoyantes impressions françaises. Debussy: Prélude à
l’après-midi d’un faune; Franck: Les Éolides; Ravel:
Le Tombeau de Couperin; Berlioz: Symphonie fantastique: Le bal; Saint-Saëns: Symphonie #2, op.55.
O.S. de Québec; Jean-Michaël Lavoie, chef.
643-8486, 877-643-8486
8pm. ULav TCU. 10-15$. Atelier d’opéra. Menotti,
Poulenc: opéras. 656-7061. (h 13)
8pm. ULav SHG. 15-20$. Partenaires: Concerts Horizons. Éric Seney, guitare; Camille Umemoto,
accordéon. 656-7061
8pm. ULav SHG. 10-15$. Grands ensembles. Johan
de Meij: Dutch Masters Suite; Thomas Doss: Of Castles and Legends; Bert Appermont: Saga Candida;
Stephen Bulla: Tournament; Rhapsody for Band.
Orchestre à vent; René Joly, chef. 656-7061
2pm. ULav SHG. EL. Classe de Pierre Doyon,
saxophone; Marc Roussel, piano. 656-7061
8pm. ULav SHG. EL. Classe de Rémi Boucher,
guitare. 656-7061
8pm. ULav TCU. 10-15$. Atelier d’opéra. Menotti,
Poulenc: opéras. 656-7061. (h 13)
8pm. ULav SHG. EL. Classes de cuivres. Classe de
James C. Lebens, trombone; classe de Trent
Sanheim, trompette; classe d’Anne-MarieLarose, cor; classe de Lance Nagels, tuba;
Jean-François Mailloux, piano. 656-7061. (f
5/4)
12pm. ULav SHG. EL. Classes de Marcel
Rousseau et Alain Trottier, clarinette; Marc
Roussel, piano. 656-7061
8pm. GTQ SLF. 38-81$. Club musical de Québec.
Murray Perahia, piano. 643-8131, 877-6438131
8pm. PalM SRJ. 20-81$. Série Baroque avant tout.
Violons du Roy, Bach: Passion. 641-6040, 877641-6040. (h 23 Montréal)
10am. GTQ SLF. 26-29$. Matins en Musique. De
Chicago à Québec; Tchaïkovski à l’heure du multimédia. Tchaïkovski: Symphonie #4, op.36; dramatisation sur la genèse de l’oeuvre. O.S. de Québec;
Jean-Michaël Lavoie, chef; Jack Robitaille,
comédien. 643-8486, 877-643-8486. (f 20)
12pm. ULav SHG. EL. Classe de Zbigniew
Borowicz, contrebasse; Marc Roussel,
piano. 656-7061
8pm. GTQ SLF. 35-64$. Sélection Desjardins. OSQ,
Jack Robitaille. 643-8486, 877-643-8486. (h 10)
8pm. PalM SRJ. 20-81$. Série Baroque avant tout.
Violons du Roy, Bach: Passion. 641-6040, 877641-6040. (h 23 Montréal)
8pm. PalM SRJ. 48$. Silence, on joue!. Musique des
films Titanic, Le Seigneur des anneaux, Mémoires
d’une geisha, Cinéma Paradiso. Angèle Dubeau
et La Pietà. 641-6040
8pm. ULav TCU. EL. Classe de Joël Thibault,
combos jazz. 656-7061
6pm. Place Ste-Foy, Cour centrale, 2450 Laurier,
Ste-Foy. EL. Aperçu de la saison 2012-2013. O.S. de
Québec; Airat Ichmouratov, chef. 643-8486,
877-643-8486
8pm. ULav SHG. EL. Professeurs en concert. Zbigniew Borowicz, contrebasse; Rachel Martel,
piano. 656-7061
4:30pm. ULav SHG. EL. Mercredis musico-poétiques. Chantal Masson-Bourque, Denyse
Noreau, animation. 656-7061
7:30pm. GTQ SLF. 48-85$. Wagner: Le Vaisseau fantôme, ouverture; Prokofiev: Concerto pour violon
#2, op.63; Berlioz: Symphonie fantastique. O.S. de
Montréal; Kent Nagano, chef; Vadim Repin,
violon. 643-8486, 877-643-8486
8pm. ULav SHG. EL. Professeurs en concert. Jazz.
Gabriel Hamel, guitare; Janis Steprans, saxophone; etc. 656-7061
7:30pm. PalM SRJ. 75-200$. Gris Majeur: concert
bénéfice au profit de GRIS-Québec. Arvo Pärt, Diane
Dufresne, Michel Rivard, etc. Les Violons du Roy;
Simon Leclerc, chef; Diane Dufresne, chant.
641-6040, 523-5572
8pm. ULav SHG. 20-25$. Passion guitare, volet professionnel. Duo Apério. 656-7061
8pm. Église Notre-Dame-de-Jacques-Cartier, Espace Hypérion, 190 St-Joseph Est. 10-20$. La
Chamaille présente. Bach: Variations Goldberg,
BWV 988. Martin Robidoux, clavecin. 524-6152
8pm. ULav SHG. 5-10$. Grands ensembles. Bach:
Nach dir, Herr, verlanget mich, BWV 150; Lobet den
Herrn alle Heiden, BWV 230; Julien Montminy:
Domine Jesu Christe. Choeur de la Faculté de
musique; Atelier de musique baroque;
Josée Vaillancourt, Richard Paré, chefs. 6567061. (f 31)
1pm. Ciné-Met Québec. 19-26$. MetOp_HD, Encore1. Ernani. (h 31 Montréal)
8pm. PalM Youv. 25$. Chants du prophète. Katia
Makdissy-Warren: oeuvres inspirées du livre “Le
Prophète” de Khalil Gibran. Erreur de type 27;
OktoEcho. 641-6040
8pm. ULav SHG. 5-10$. Grands ensembles.
Choeur, atelier, Bach, etc. 656-7061. (h 30)
APRIL
1 2pm. GTQ SLF. 25-40$. Festival Mozart en quatre
temps. Mozart à l’heure du cocktail. Mozart: Divertimento #17, K.334; Sérénade #10, K.361 “Gran partita”. O.S. de Québec; Kenneth Slowik, chef.
(19h Prélude au concert: présentation musi-
PREVIEWS
PHILIPPE SLY
PHOTO Adam Scotti
OTTAWA
Philippe Sly and New Music From Ottawa
Ottawa’s own Philippe Sly will perform Handel, Vaughan Williams,
Marin Marais, Schubert and more on March 5th with the Chamber
Players of Canada. The 23-year-old baritone was one of five winners
of the Metropolitan Opera’s National Council Auditions last March.
For the new music lovers, the Chamber Players will perform a
marathon of music by local Ottawa composers, including eight world
CC
premieres, on the 19th and the 20th. www.chamberplayers.ca
Ottawa Bach Celebrates
10 Years With St. Matthew Passion
This month, the Ottawa Bach Choir will perform one of the composer’s
great masterworks: St. Matthew Passion. The performance, on March
10th, will be ten years to the day of their inaugural concert, when they
played the same work. Accompanied by an orchestra playing on period
instruments and led by concertmaster Adrian Butterfield, the OBC
will also be joined by the Christ Church Cathedral Boys Choir and Ottawa Children’s Choir. The soloists will be Suzie LeBlanc, Agnes
Zsigovics, Daniel Taylor, Jacques-Olivier Chartier, Daniel Lichti,
Stephan MacLeod as Jesus, and Charles Daniels as the Evangelist.
www.ottawabachchoir.ca
CC
Music In Unsual Places
The Ottawa Chamberfest will present two concerts on March 11th: one
in the late morning at the National Cemetery of Canada and one in
the evening at Irene’s Pub. Unusual places to hear some contemporary
music by composers Brian Harman, Frédéric Lacroix, Victor Sanchez,
Martin Bresnick, Kelly-Marie Murphy, Brian Current, Andrew StaniCC
land, and Dan Visconti. www.ottawachamberfest.com
A Piazzolla Chamber Opera
On March 17th, Les Concerts Ponticello presents a concert version of
María de Buenos Aires, an opera written by Piazzolla in 1968. The libretto is by the Argentine poet Horacio Ferrer, a long-time collaborator with the composer; his best-known lyrics are for Piazzolla’s
Chiquilín de Bachín. Nils Brown, Laura Dutto, Pierre-Paul Provencher
and the Norteño Quintet will sing, backed by a 30-piece orchestra.
www.ponticello.ca
CC
Concertos for Harp
Also on March 17th, harpist Caroline Léonardelli will perform with the
Ottawa Chamber Orchestra. On the programme: Berlioz, Michael Conway Baker, Marcel Grandjany, and a piece by young local composer
CC
Margaret Ashburner. www.ottawachamberorchestra.com
TRANSLATION: ELISABETH GILLIES
MARCH 2012
23
sm17-6_EN_p18-24_RegCal_sm17-6_FR_pXX 12-03-05 2:59 PM Page 24
cologique des oeuvres au programme) 643-8486,
877-643-8486
1 8pm. ULav SHG. EL. Classe de Patricia Fournier,
chant; Jean-François Mailloux, Marie Fortin,
piano. 656-7061
2 8pm. GTQ SLF. 25-40$. Festival Mozart en quatre
temps. Mozart au salon. Mozart: Sérénade, K.525
“Une petite musique de nuit”; Concerto pour violon #5, K.291 “Turc”; Symphonie #29, K.201. O.S. de
Québec; Kenneth Slowik, chef; Mayumi
Seiler, violon. (19h Prélude au concert: présentation musicologique des oeuvres au programme)
643-8486, 877-643-8486
2 8pm. ULav SHG. 5-10$. Grands ensembles. Rachmaninov: Danses symphoniques, op.45; Borodin:
Prince Igor, ouverture; Tchaikovsky: Eugene Onegin, “Ja vas liubliu”; Puccini: Manon Lescaut, “Tra
voi belle”. O.S.; Airat Ichmouratov, chef; David
Henrique de Souza, ténor. 656-7061
3 12pm. ULav SHG. EL. Classe de David Jacques,
guitare. 656-7061
3 8pm. GTQ SLF. 25-40$. Festival Mozart en quatre
temps. Mozart pour ses fans. Mozart: Adagio et
Fugue, K.546; Concerto pour piano #25, K.503; Symphonie #40, K.550. O.S. de Québec; Kenneth
Slowik, chef; Anton Kuerti, piano. (19h Prélude
au concert: présentation musicologique des oeuvres au programme) 643-8486, 877-643-8486
4 8pm. GTQ SLF. 25-40$. Festival Mozart en quatre
temps. Divin Mozart. Mozart: Symphonie #41, K.551
“Jupiter”; Requiem, K.626. O.S. de Québec;
Choeur de l’OSQ; Kenneth Slowik, chef; Karina Gauvin, soprano; Allyson McHardy,
mezzo; Thomas Cooley, ténor; Alexandre
Sylvestre, basse. (19h Prélude au concert:
présentation musicologique des oeuvres au programme) 643-8486, 877-643-8486
4 8pm. ULav SHG. EL. Classes de Jean-Sébastien
Bernier et Anne Thivierge, flûte; Marie
Fortin, piano. 656-7061
5 8pm. ULav SHG. EL. Classes de cuivres. 656-7061.
(h 18/3)
6 8pm. GTQ SLF. 38-81$. Club musical de Québec.
Quatuor Vogler; Ute Lemper, chanteuse.
643-8131, 877-643-8131
6 8pm. PalM SRJ. 20-57$. Série Rencontres. A. Scarlatti: Stabat Mater; Legrenzi, Bertali, Marini:
musique de chambre. Les Violons du Roy;
Bernard Labadie, chef; Shannon Mercer, soprano; Meg Bragle, mezzo. 641-6040, 877-6416040
7 12pm. Ciné-Met Québec. 19-26$. MetOp_HD, Live.
Manon. (h 7 Montréal)
OTTAWA - GATINEAU
Unless indicated otherwise, events are in Ottawa, and
the area code is 613. Main ticket counters: NAC
976-5051; Ticketmaster 755-1111
NAC National Arts Centre, 53 Elgin St., 947-7000: SH
Southam Hall
UofO University of Ottawa: Perez121 Room 121
(Freiman Hall), 610 Cumberland (Pérez Building);
Tabaret112 Room 112 (formerly Tabaret Chapel),
550 Cumberland (Tabaret Building)
MARCH
2 8pm. UofO Tabaret112. $5-20. Music at Tabaret.
Nordic Masterworks. Grieg: Sonata #1, op.8; Sonata
#2, op.13; Sonata #3, op.45. David Stewart, violin; Andrew Tunis, piano. 562-5800 x3611
3 1pm. Cinéma StarCité Gatineau, 115 boul. du
Plateau, Gatineau. 19-26$. MetOp_HD, Encore1.
The Enchanted Island. (h 3 Montréal)
3 8pm. Basilique cathédrale Notre-Dame, 385 Sussex Drive (& St-Patrick). $10-20. Bruckner: Mass #2;
etc. University of Ottawa Choir; Calixa Lavallée Ensemble; Choral Ensemble; University
of Ottawa Orchestra Brass & Winds; Matthew
Larkin, Michel Guimont, cond. 562-5733
3 8pm. First Baptist Church, 140 Laurier W (& Elgin).
20-25$. Rhythm of the Water. Mark Sirett, Allister
MacGillivray, Donna Rhodenizer Taylor. Tone Cluster Quite a Queer Choir; Kurt Ala-Kantti,
cond.; Quinn Redekop, flute; Vincent Mar,
piano; Alvaro Yanez, percussion. 725-3063
4 1pm. UofO Perez121. FA. ORMTA Series, masterclass. Stéphane Lemelin, piano. 562-5733
5 8pm. Dominion-Chalmers United
Church, 355 Cooper (& O’Connor). $1020. Handel, Vaughan Williams, Marin
Marais, Schubert. Phillip Sly, baritone; Chamber Players of Canada. 241-0777.
8 8pm. NAC SH. 12-95$. Bostonian Bravo Series.
Kodály: Dances of Galanta; Marquez: Danzon #2;
Orff: Carmina Burana. National Arts Centre Orchestra; Combined Ottawa Choruses; Diego
Matheuz, cond.; Erin Wall, soprano; Daniel
Taylor, countertenor; Russell Braun, baritone. (Pre-concert chat: William Littler, Paul Lefebvre: “Carmina Burana: Wine, Women and Song in
the Medieval Manner”) 888-991-2787, 947-7000.
(f 9)
9 8pm. NAC SH. 12-95$. Bostonian Bravo Series.
NACO, Carmina Burana. (Pre-concert chat:
William Littler, Paul Lefebvre: “Carmina Burana:
Wine, Women and Song in the Medieval Manner”)
888-991-2787, 947-7000. (h 8)
10 7pm. Dominion-Chalmers United Church, 355
Cooper (& O’Connor). $20-50. 10th Anniversary Concert. Bach: Matthäus-Passion, BWV 244. Ottawa
Bach Choir; Ottawa Children’s Choir; Christ
Church Cathedral Boys Choir; baroque orchestra; Lisette Canton, cond.; Adrian Butterfield, violin; Suzie LeBlanc, Agnes
Zsigovics, Daniel Taylor, Charles Daniels,
Jacques-Olivier Chartier, Stephan MacLeod,
Daniel Lichti. (Reception following concert) 2701015
19 7:30pm. Maxwell’s Bistro and Club,
340 Elgin Street. $10-20. Celebration of
Ottawa Composers. Jan Jarvlepp, Colin
Mack, Roddy Elias, Maya Badian, Daniel
Mehdizadeh, Robert Fleming, Robert Rival, Margaret Ashburner, Gabor Finta, Victor Herbiet.
Chamber Players of Canada. 241-0777. (f 20)
207:30pm. Maxwell’s Bistro and Club,
340 Elgin Street. $10-20. CPC, Ottawa
composers. 241-0777. (h 19)
20
8pm. NAC SH. 12-75$.
Great Performers Series. Chopin: Five Nocturnes;
Andante spianato et Grande Polonaise brillante,
op.22; Four Mazurkas, op.33; Sonata #2; Polonaise,
op.53 “Heroic”. Yundi, piano. 888-991-2787, 9477000
22 8pm. NAC SH. 12-95$. CTV Pops Series. A Celtic Celebration. National Arts Centre Orchestra; Jack
Everly, cond.; Natalie MacMaster, fiddle. 888991-2787, 947-7000. (f 24)
24 8pm. NAC SH. 12-95$. CTV Pops Series. NACO, Natalie MacMaster. 888-991-2787, 947-7000. (h
22)
25 2pm. UofO Tabaret112. $5-20. Music at Tabaret. A
Four-Guitar Orchestra!. Brudërl, Gabrieli, Rossini,
Patrick Roux, Louis Trépanier. The Canadian Guitar Quartet. 562-5800 x3611
25 3pm. St. Matthias Anglican Church, 555 Parkdale (&
Queensway). $0-15. 25th Anniversary Concert.
Deirdre Piper: Haiku (cr); traditional spirituals.
Cantabile. 829-4402
26 8pm. UofO Tabaret112. CV. Contemporary Music
Ensemble (EMC2). 562-5733
28 12pm. UofO Agora, 85 University (Jock Turcot Centre). CV. Music in the Agora. University of Ottawa
Jazz Orchestra; Yves Laroche, cond. 562-5733
29 12pm. NAC Fourth Stage, 53 Elgin St. CV. uOttawa
on the NAC Fourth Stage. Darren Hicks, bassoon. 562-5733
30 8pm. St. Brigid’s Centre for the Arts and Humanities, 310 St. Patrick (& Cumberland). CV. Orchestra
Series. Mendelssohn: A Midsummer Night’s
Dream; Brahms: Symphony #2, op.73. University
of Ottawa Orchestra; Calixa Lavallée Choir
and Choral Ensemble; Rennie Regehr, cond.
562-5733
31 1pm. Cinéma StarCité Gatineau, 115 boul. du
Plateau, Gatineau. 19-26$. MetOp_HD, Encore1. Ernani. (h 31 Montréal)
APRIL
1 9:30am. NAC SH. 9-39$. Kinderconcerts. Expedition
of the Rhythmobile. Bruno Roy, Thierry Arsenault, percussion. (English performance) 888991-2787, 947-7000. (f 11am 1:30pm 3pm)
1 11am. NAC SH. 9-39$. Kinderconcerts. Expedition
of the Rhythmobile. (English performance) 888991-2787, 947-7000. (h 9:30am)
1 1:30pm. NAC SH. 9-39$. Kinderconcerts. Expedition of the Rhythmobile. (English performance)
888-991-2787, 947-7000. (h 9:30am)
1 3pm. NAC SH. 9-39$. Kinderconcerts. Expedition
of the Rhythmobile. (French performance) 888991-2787, 947-7000. (h 9:30am)
1 8pm. St. Andrew’s Presbyterian Church, 82 Kent St
(& Wellington). $10-30. Stabat Mater III. Haydn: Stabat Mater, Hob. 20a: 1; Lachner: Stabat Mater,
op.154; Mozart: Ave Verum Corpus. Cantata
Singers of Ottawa; Thirteen Strings of Ottawa; Michael Zaugg, cond.; Dawn Bailey,
Meagan Zantingh, Jeffery Boyd, Luc Lalonde.
(7:30pm talk: Michael Zaugg, cond.) 798-7113
2 8pm. UofO Perez121. CV. Piano Duets & Duos. Class
of Frédéric Lacroix, piano. 562-5733
3 2pm. UofO Perez121. CV. Chamber Music Ensembles. 562-5733. (f 4)
4 10am. UofO Perez121. CV. chamber music ensembles. 562-5733. (h 3)
4 1pm. UofO Perez121. CV. chamber music ensembles. 562-5733. (h 3)
4 7:30pm. UofO Perez121. CV. Guitar class. 5625733
5 8pm. UofO Tabaret112. CV. Elizabeth Raum: Concerto for Bass Trombone and Wind Ensemble. University of Ottawa Wind Ensemble; Daniel
Gress, cond.; Douglas Burden, trombone.
562-5733
7 12pm. Cinéma StarCité Gatineau, 115 boul. du
Plateau, Gatineau. 19-26$. MetOp_HD, Live.
Manon. (h 7 Montréal)
RADIO
CBC Canadian Broadcasting Corporation. cbc.ca. 514597-6000, 613-724-1200, 866-306-4636. R2 Radio
Two. Ottawa 103.3FM, Montréal 93.5FM. SATO Saturday Afternoon at the Opera
CIBL Radio-Montréal 101,5FM. cibl1015.com. Dim
20h-21h, Classique Actuel, les nouveautés du
disque classique, avec Christophe Huss
CIRA Radio Ville-Marie. radiovm.com. 514-3823913. Montréal 91,3FM, Sherbrooke 100,3FM, TroisRivières 89,9FM, Victoriaville 89,3FM. Lun-ven 6h-7h
Musique sacrée; 10h-11h Couleurs et mélodies;
14h30-16h30 Offrande musicale; 20h30-21h Sur
deux notes; 22h-23h Musique et voix; sam. 6h-7h30
Chant grégorien; 8h30-9h Présence de l’orgue; 9h-10h
Diapason; 12h-12h30 Sur deux notes; 13h-13h30
Dans mon temps; 15h30-16h Musique traditionnelle;
20h30-21h Sur deux notes (reprise de 12h); 21h-22h
à pleine voix; 22h-23h Jazz; dim. 6h-7h30 Chant grégorien; 13h30-14h30 Avenue Vincent-d’Indy; 17h18h Petites musiques pour..; 22h-23h Chant choral;
23h-24h Sans frontière; et pendant la nuit, reprises
des émissions du jour
CJFO station communautaire francophone, OttawaGatineau. cjfofm.com. Dim 9h-12h La Mélomanie,
musique classique, avec François Gauthier, [email protected]
CJPX Radio Classique. cjpx.ca. 514-871-0995. Montréal 99,5FM. Musique classique 24h/jour, 7
jours/semaine
CKAJ Saguenay 92,5FM. www.ckaj.org. 418-546-2525.
Lun 19h Musique autour du monde, folklore international, avec Claire Chainey, Andrée Duchesne;
21h Radiarts, magazine artistique, avec David
Falardeau, Alexandra Quesnel, Alain Plante; 22h
Franco-Vedettes, chanson québécoise et française,
avec Audrey Tremblay, Nicolas McMahon, Gabrielle
Leblanc; mar 19h Prête-moi tes oreilles, musique
classique, avec Pauline Morier-Gauthier, Lily Martel; 20h Bel Canto, chant classique d’hier à aujourd’hui, avec Klaude Poulin, Jean Brassard; 21h
Mélomanie, orchestres et solistes, avec Claire
Chainey; mer 21h Jazzmen, avec Klaude Poulin, éric
Delisle
CKCU Ottawa’s Community Radio Station, 93.1FM.
www.ckcufm.com. Wed 9-11pm In A Mellow Tone,
host Ron Sweetman
CKIA Québec 88,3FM. www.meduse.org/ckiafm. 418529-9026
MetOp Metropolitan Opera international radio broadcasts, all with the MetOp orchestra & chorus; live
from New York on CBC R2 / diffusés sur SRC EM
Radio Shalom Montréal 1650AM. www.radioshalom.ca. Tue 11pm, Sun 4pm Art & Fine Living
with Jona, art and culture in Montréal; interviews
with artists of the theatre, cinema, opera, jazz, etc.,
host Jona Rapoport
SRC Société Radio-Canada. radio-canada.ca. 514-5976000. EM Espace musique. Montréal 100,7FM; Ottawa 102,5FM; Québec 95,3FM; Mauricie 104,3FM;
Chicoutimi 100,9FM; Rimouski 101,5FM. OPSAM
L’Opéra du samedi
WVPR Vermont Public Radio. www.vpr.net. 800-6396391. Burlington 107.9FM; can be heard in the
Montréal area
MARCH
3 12pm. CBC R2, SRC EM. OPSAM, SATO, MetOp. Verdi:
Aida. Metropolitan Opera chorus & orchestra;
Marco Armiliato, cond.; Violeta Urmana,
Stephanie Blythe, Marcelo Álvarez, Lado
Ataneli, James Morris, Jordan Bisch
10 12pm. CBC R2, SRC EM. OPSAM, SATO, MetOp.
Mozart: Don Giovanni. Metropolitan Opera chorus & orchestra; Andrew Davis, cond.; Marina
Rebeka, Ellie Dehn, Isabel Leonard, Matthew
Polenzani, Gerald Finley, John Relyea,
Shenyang, James Morris
17 12pm. CBC R2, SRC EM. OPSAM, SATO, MetOp. Moussorgski: La Khovanchtchina. Metropolitan Opera
chorus & orchestra; Kirill Petrenko, cond.;
Olga Borodina, Misha Didyk, Vladimir Galouzine, George Gagnidze, Anatoli
Kotscherga, Ildar Abdrazakov
24 12pm. CBC R2, SRC EM. OPSAM, SATO, MetOp. Verdi:
Macbeth. Metropolitan Opera chorus & orchestra; Gianandrea Noseda, cond.; Nadja
Michael, Dimitri Pittas, Thomas Hampson,
Gunther Groissböck
31 12pm. CBC R2, SRC EM. OPSAM, SATO, MetOp.
Donizetti: L’Elisir d’amore. Metropolitan Opera
chorus & orchestra; Donato Renzeti, cond.;
Diana Damrau, Juan Diego Flórez, Mariusz
Kwiecien, Alessandro Corbelli
APRIL
7 12pm. CBC R2, SRC EM. OPSAM, SATO, MetOp.
Massenet: Manon. Metropolitan Opera chorus
& orchestra; Fabio Luisi, cond.; Anna Netrebko, Piotr Beczala, Paulo Szot, David
Pittsinger
CLASSIFIEDS
FOR SALE
VOLUNTEERS
Household items for sale in Montreal. All
in good shape. Call for details and item
list, 514-677-6767.
LA SCENA MUSICALE seeks volunteers for:
Fundraising Committee, Distribution, Public relations, Project coordination, Writing,
editing, translations, Website, 514-9482520, [email protected]
P, YMMABMYAMRYANOHBDOYFJTAPT, Z
$12 / 120 characters; $5 / 40 additional characters
Tel. : (514) 948-2520 / [email protected]
24
MARCH 2012
sm17-6_EN_p25-26_Camps_sm17-6_FR_pXX 12-03-05 2:58 PM Page 25
2012
NEWFOUNDLAND
Vinland Music Camp
Box 40, Ladle Cove
www.soundbone.ca | Aug. 19 to 25
NOVA SCOTIA
TD Halifax Jazz Festival, Creative
Music Workshop
summer
CAMPS GUIDE
Camp musical d’été de Montréal
(CMEM)
200, av. Vincent d’Indy, Université de
Montréal, Faculté de Musique., Montréal
ecoledesjeunes.musique.umontreal.ca |
June 26 to July 20
Choeur des cigales
Box 33043, Halifax
www.jazzeast.com | July 5 to 14
200 av. Vincent-D’Indy Faculté de musique,
Université de Montréal., Montréal
ecoledesjeunes.musique.umontreal.ca |
August 20 to February 25
NEW BRUNSWICK
ELSEWHERE IN QUEBEC
University of New Brunswick
Music Camp
University of New Brunswick-Box 4400,
Fredericton
www.unb.ca/cel/programs/creative/music/
music-camp | August 11 to 18
MONTRÉAL
Camp chanson de Petite-Vallée
Camp Amy Molson
41, rue Principale, Petite-Vallée
www.festivalenchanson.com | July 3 to
Aug. 19
5165 Sherbrooke St. W., suite 210, Montréal
www.campamymolson.com | June 29 to
Aug. 17
Camp de Blues
400, de Maisonneuve West Blvd, Montreal
www.campdeblues.com | June 30 to July 6
Visual Arts Centre
350, avenue Victoria, Montréal
visualartscentre.ca | June 26 to Aug. 24
Creative Video Day Camp
6405, de Terrebonne, Montréal (NDG)
collectivevision.ca | July 2 to Aug. 24
École de théâtre du vieux StEustache, camp de théâtre et
d’impro
36, rue St-Eustache, St-Eustache
www.ecoledetheatrevse.com | June 25 to
Aug. 24
COMPOSITION
Special courses, master classes, chamber
music, specialized workshops, student
concerts, entry to Festival International
concerts. A unique experience in a majestic
setting!
Camp Musical d’Asbestos
C.P. 6, Asbestos, www.campmusicalinc.com
| July 1 to Augu 17
Camp musical Saint-Alexandre
267 rang St-Gérard Est, St-Alexandre-deKamouraska
www.campmusical.com | June 15-Aug. 31,
418-495-2898 • [email protected]
Fax: 418-495-1168
Deadline: June 24 • Cost: $400 - $1600
Scholarships: On demand,
Language: French
Disciplines: Voici, Piano, Recorder,
Trumpet, Trombone, French Horn, Brass,
Strings, Guitar, Woodwinds, Percussions,
Orchestra, Choir, Chamber Music, Thory,
Musical Thatre, Sound Recording, Electro.
Visit our website www.campmusical.com.
We have a multitude of musical options!
Playing is up to you... Off-season site rental
also available. New facilities... an enthusiastic team... always a new experience!
Camp musical Tutti
JazzWorks Summer Jazz
Workshop and Composers’
Symposium
CAMMAC Music Centre, MacDonald Lake
www.jazzworkscanada.com | Aug. 16 to 19
Université de Sherbrooke, École
d’été de chant choral
2500 boul Université, Sherbrooke
www.usherbrooke.ca/musique | June 23 to
30
QUÉBEC
Camp d’été de l’École de danse
de Québec
Centre de production artistique et
culturelle Alyne-LeBel, Québec
www.ledq.qc.ca | June 25 to July 13
Camp musical de l’AbitibiTémiscamingue
Bishop’s University, Lennoxville
www.camptutti.com | June 24 to July 1
88, rue Allard, Val-d’Or
www.campmusicalat.ca
Camp Nominingue
Camp musical Adagio
1889, ch. des Mésanges, Nominingue
www.nominingue.com | June 30 to Aug. 16
851-E, St-René O., Gatineau (Hull)
www.campmusicaladagio.com | July 2 to 27
Orford Arts Centre
National Arts Centre Summer
Music Institute
Camp musical de l’Estrie
1370 Maurice-Duplessis, Sherbrooke
www.camuest.com | July 30 to Aug. 11
Camp musical Père Lindsay
C.P. 44, Joliette
www.campmusicallanaudiere.com | June
27 to Aug. 18
École d’été, Arts et métiers d’art
de Mont-Laurier
3165 chemin du Parc, Orford
www.arts-orford.org | June 10 to Aug. 12
CAMMAC Lake MacDonald Music
Centre
85 chemin Cammac, Harrington (near
Lachute)
www.cammac.ca | June 24 to Aug. 12
OTTAWA-GATINEAU
PO Box 1534 Station B, Ottawa
www.nac-cna.ca/smi | June 11 to 30
ONTARIO ELSEWHERE
Algoma Music Camp
St. Joseph Island, Sault Ste-Marie
algomamusiccamp.org | July 15 to 28
Camps de jour en arts de la
scène Nos Voix Nos Visages
CP 334, Mont-Laurier
www.lecoledete.com | July 9 to Aug. 3
Arts Integra Centre for Music
and the Arts
2516, rue Sainte-Hélène, Longueuil
www.nosvoixnosvisages.org | June 25 to
Aug. 24
Camp musical des Laurentides
132 Main Street, Unionville
www.artsintegra.com | May 2 to July 8
Institut Suzuki de Montréal
Camp musical du lac Matapédia
(musique, danse, théâtre)
4920 avenue Doherty, Montréal
www.suzukimontreal.org | July 20 to 29
60 place Mozart, St-Adolphe d’Howard
www.cmlaurentides.qc.ca
Lambda School of Music and Fine
Arts
1, chemin St-Pierre, Sayabec
www.camplacmatapedia.com | June 24 to
Aug. 26
4989, boul. des Sources, Pierrefonds
www.lambdaarts.ca | June 25 to Aug. 24
Camp musical du Saguenay
Lac-St-Jean
McGill Conservatory Day Camp
1589, Route 169,
Metabetchouan-Lac-à-la-Croix
www.campmusical-slsj.qc.ca | June 23 to
July 27
Strathcona Music Building, 555 Sherbrooke
St. West, Montréal
www.mcgill.ca/conservatory-camp
Sunny Acres Day Camps
21275 Lakeshore Road, Sainte-Anne-deBellevue
sunnyacresdaycamp.com | June 25 to Aug
17
Centauri Summer Arts Camp
Domaine Forget International
Music and Dance Academy
5, rang St-Antoine, Saint-Irénée
www.domaineforget.com | May 14 to
September 3
[email protected] •
418-452-8111 • Fax: 418-452-3503
Deadline: (depending on sessions) March
15 | April 1 | May 15 • Cost: $305 - $2480
depending on session and duration,
Scholarships: Yes, Languages: English,
French
Disciplines:Chamber Music, Voice, Woodwinds: Flute, Oboe, Clarinet, Bassoon, Brass:
Trumpet, French Horn, Trombone, Tuba;
Strings: Violin, Viola, Cello, Bass; Guitar,
Dance, Choir, New Music (composition),
Jazz, Vocal Jazz; NEW : FILM MUSIC
RR3, Wellandport
www.centauriartscamp.com | July 1 to Aug 21
Elora Festival Kids’ Camp
PO Box 370, Elora
www.elorafestival.com | July 16 to Feb 21
Goderich Celtic College & Kids’
Day Camp
Box 171, Goderich
www.celticfestival.ca/kids-day-camp.html |
August 6 to 12
Guelph Youth Music Centre
75 Cardigan Street, Guelph gymc.ca
Huckleberry Music Camp
Muskoka
huckleberrymusiccamp.com | June 30 to
July 14
MARCH 2012
25
sm17-6_EN_p25-26_Camps_sm17-6_FR_pXX 12-03-05 2:58 PM Page 26
Humber College Summer Jazz
Workshop
3199 Lakeshore Blvd. W., Etobicoke
www.humber.ca/youthjazz/workshop.html
Interprovincial Music Camp
Canadian Operatic Arts Academy
National Music Camp
Don Wright Faculty of Music, London
www.music.uwo.ca/coaa.html | May 2 to 26
227 Eglinton Ave. W, Toronto
www.nationalmusiccamp.com | August 8
to September 2
Worldsongs Vocal Camp
Midland, worldsongs.ca
Camp Manitou, Parry Sound
www.interprovincialmusiccamp.ca | August
19 to September 2
JVL Summer School for
Performing Arts
TORONTO
Bravo Academy for the
Performing Arts
150 Laird Drive, Toronto
www.bravoacademy.ca | July 2 to Aug. 26
79 Chagall Drive, Thornhill Woods
www.musicinsummer.com | July 5 to 15
Kincardine Summer Music
Festival
Box 251, Kincardine
www.ksmf.ca | August 5 to 18
Lake Field Music (formerly
CAMMAC Ontario Music Centre)
Lakefield College School, Lakefield
lakefieldmusic.ca | August 12 to February
19
Music at Port Milford
Oakville Performing Arts Suzuki
Day Camp
268 Lakeshore Road East-Suite 512, Oakville
www.oakvillesuzuki.org | July 2 to 13
Summer Camp at Singing Brook
Farm
R R 2, Ingersoll
singingbrookfarm.ca
Canadian Opera Company,
Summer Youth Intensive
Tafelmusik Baroque Summer
Institute
BRITISH COLUMBIA
227 Front Street East, Toronto
www.coc.ca | July 2 to 13
427 Bloor Street West, Toronto
www.tafelmusik.org | June 3 to 16
Comox Valley Youth Music Centre
Canadian Opera Company
Summer Opera Camp
Theatre Ontario Summer Courses
Ontario Youth Choir
A-1422 Bayview Avenue, Toronto
www.choirsontario.org | August 17 to 26
Choirs Ontario Vocal Training
and Choral Camp
112 St. Clair Ave. West, Suite 403, Toronto
www.choirsontario.org | July 4 to 7
Toronto/ Oakville
www.guitarworkshopplus.com |
July 15 to 27
West Toronto Summer Chamber
Music Workshop at the Kingsway
Conservatory of Music
Mount Forest
cncm.ca | July 15 to 17
Ontario Mennonite Music Camp
Conrad Grabel College, Waterloo
www.grebel.uwaterloo.ca/ommc | August
12 to 24
ALBERTA
Banff Centre for the Arts - Summer Music and Sound Programs
947 Queen St. E., 2nd Floor, Toronto
www.solt.ca | June 10 to Aug. 5
Guitar Workshop Plus
Summer Sizzle: A Piano
Pedagogy Symposium and
Keyboard Camp
273 Bloor Street West, Toronto
www.rcmusic.ca
1610 Morgan Ave, Saskatoon
www.conductorschool.com | July 21 to 28
227 Eglinton Ave W, Toronto
www.wahanowin.com | June 28 to Aug. 17
3300 Ninth Line Road, Oakville
www.fernhillschool.com |
June 25 to Aug. 3
Wilfrid Laurier University, Waterloo
www.mysosi.ca | August 12 to 19
519-824-7609 • [email protected]
Royal Conservatory of Music
SASKATCHEWAN
SOA Saito Conducting Workshop
with Wayne Toews
Summer Opera Lyric Theatre,
Opera Workshop
Fern Hill Summer Camp
Southwestern Ontario Suzuki
Institute
50 Ashburnham Rd, Toronto
www.nostringstheatre.com | July 2 to 29
4588 Bathurst St., Toronto
www.kofflerarts.org
Camp Wahanowin, Creative Arts
Programs
227 Front Street East, Toronto
www.coc.ca/ExploreAndLearn/Children/Sum
merOperaCamp.aspx | July 23 to Aug. 10
Prince Edward County
www.mpmcamp.org | July 14 to Aug. 11
No Strings Theatre, Summer
Music Theatre for Teens+
Koffler Centre of the Arts, School
of Music
2848 Bloor St. West, Toronto
kingswayconservatory.ca | July 2 to
February 6
Waterloo, theatreontario.org |
Aug. 12 to 18
Thornhill Chamber Music
Institute
8018 Yonge St, Thornhill
thornhillchambermusic.com | Aug. 7 to 17
Toronto School for Strings,
Summer Camps & Programs
85 Collier Street, Toronto
torontoschoolforstrings.com | July 23 - 27
Toronto School of Music Canada
5803 Yonge Street, North York
torontoschoolofmusic.com | June 1 to Aug 31
107 Tunnel Mountain Dr., box 1020, Banff
www.banffcentre.ca/music | July 1 to Aug.
19
Box 3056, Courtenay
www.cymc.ca | June 30 to July 29
250-338-7463 • [email protected]
fax: 250-703-2251
Deadline: June 15 • Cost: $1685
Scholarships: Yes • Language: English
Disciplines: Flute, Piano, Trumpet,
Trombone, French Horn, Bass, Violon, Viola,
Cello, Bass, Strings, Guitar, Saxophone,
Clarinet, Bassoon, Obie, Woodwinds, Percussions, Orchestra, Chamber Music, Jazz, Jazz
Improvisation, Musical Theatre.
CYMC has provided musical instruction to
youth since 1967. Instrumental and piano
will run from July 1 - 15. Jazz starts on the
22nd of July and runs for one week. Musical
Theatre, runs nearly the entire month of
July. Please check our website for this years
exciting production.
Toronto Summer Music Academy
& Festival
Pulse Creative and Innovative
Chamber Music Program and
Festival
720 Bathurst Street, Suite 501, Toronto
www.torontosummermusic.com | July 17
to Aug. 4
4899 207th Street, Langley
www.langleymusic.com | July 23 to 28
University of Toronto Faculty of
Music Summer Programs
80 Queen’s Park Circle, Toronto
www.utoronto.ca/music | July 3 to 13
Yamaha Music Camp
5075 Yonge St., 10th Floor, Toronto
yamahamusicschool.ca
Penticton Academy of Music
Summer Programs
220 Manor Park Ave, Penticton
www.pentictonacademyofmusic.ca |
July 4 to 20
Victoria Conservatory of Music
Summer Academies
900 Johnson Street, Victoria
www.vcm.bc.ca | July 4 to Aug. 19
2012-13 FALL / WINTER CREATIVE MUSIC RESIDENCIES
HENK GUITTART, DIRECTOR
26
MARCH 2012
FALL:
October 1 - December 7, 2012
Apply by May 1, 2012
WINTER:
January 7 - March 15, 2013
Apply by August 1, 2012
GUEST FACULTY:
Marco Blaauw, Stefano Bollani,
Marc Destrubé, Marc Durand,
Henk Guittart, Kwang-Wu Kim,
Emile Naoumoff, Marianne Pousseur,
Hardy Rittner, Lesley Robertson,
Shauna Rolston, Sarah Rothenberg,
Mark Steinberg, New Orford
String Quartet
Our creative residency programs
are unique in the world. This is the
perfect opportunity for musicians who
are between concert engagements,
have completed undergraduate
programs, are on leave or sabbatical
from a professional career, or
preparing for performances, auditions,
recordings, and competitions.
RESIDENCIES INCLUDE:
sHOURSTUDIOACCESS
s0ERFORMANCEANDRECORDING
opportunities
s!CCESSTORENOWNEDGUESTFACULTY
FOR MORE INFORMATION:
www.banffcentre.ca/music
[email protected]
1.800.565.9989
sm17-6_EN_p27_ADs_sm17-6_FR_pXX 12-03-05 3:32 PM Page 27
ESSENTIAL for MUSICIANS
the LA SCENA CARD
RD
A
rC
urs
ate
e
art
C
am
des
The
rt •
d’a
s
Art
e
Lov
Access to the
Naxos Music Library ($225 USD value)
Discounts
at the city's top arts organizations
Price: $43
includes 10 issues of La SCENA
and La Scena Musicale
visit scena.org/LaSCENACard or 514.948.2520
sm17-6_EN_p28-31_Jazz_sm17-6_FR_pXX 12-03-05 2:42 PM Page 28
jazz
ble bassist Joel Quarrington, whose recording
Garden Scene won a Juno in 2010 in the category “Classical Album of the Year, Solo or
Chamber Ensemble”.
As for our local contingent, electric bassist
Alain Caron will appear at l’Astral on March
30, in the wake of winning a Félix Award for
Jazz Album of the Year, not to mention a couple of European tours. Alain Bédard, the
event’s director (and double bassist by trade)
is understandably happy, all the more so because of this appearance at Upstairs on March
22 at the helm of his Auguste Quartet.
To close off the event, on March 31, another
double bass orchestra will bring together some
of our own bass heroes, these being
Normand Guilbeault, Guy Boisvert,
Fredéric Alarie, Fraser Hollins, Dave
Watts, and Adrian Vedady, all of
whom will premiere a piece commissioned to trombonist and composer
Jean-Nicolas Trottier.
For the last seven years, Jazz en Rafale includes in its schedule a competition for young
musicians. Five groups will be offered the opportunity to play as opening acts for as many
concerts. The winner will be offered a record
deal for the Effendi label. The trio of pianist
Jérôme Beaulieu (last year’s laureate, who
pocketed a similar prize at the FestiJazz in Rimouski) will launch its album on March 31 at
l’Astral.
LSM
THE MANY FACES OF THE BASS
by ANNIE LANDREVILLE
T
he winter Jazz en Rafale festival is
back this year for its twelfth annual
edition. In 2011, the program’s
emphasis was on female musicians;
this time, the focus is on the bass,
mainly acoustic, but some electric as well. Cast
for the most part in the background of both
classical orchestras and jazz ensembles, this
instrument is called upon to hold the tempo
and support the melodies played by other
instruments. But bass lovers are well aware
that this big fiddle is more than an oversized
metronome for it offers a wide range of sounds,
both warm and plaintive while offering uplifting rhythms.
Jazz en Rafale unfolds over the last two
weekends of the month (March 21 to 24 and
29 to 31) and in three main locations: l’Astral,
the Upstairs Jazz Bar, and the Chapelle historique du Bon-Pasteur. All told, a hundred
musicians will perform in some 24 concerts,
with a dozen or so master classes also provided.
Hailing from France, the Orchestre de contrebasses will kick off the event. At times
whimsical, at times enlightened, the compo-
sitions of this six-man outfit are less repertory
pieces but more essays in musical freedom
that waltz along with a jazz flair or flirt with
soundtracks. These virtuosos put on an unforgettable show; not only do they demonstrate a fine sense humour, but their
instruments become come to life as equal
partners. A fine opening act.
While the program is graced by many worthy names, the presence of the renowned
Rufus Reid is especially noteworthy. Having
played with the greats (Dexter Gordon, Bill
Evans, J.J. Johnson, Lee Konitz and Kenny
Burrell), he performs with his own trio on the
final two days of the festival, in the intimate
confines of the Upstairs Jazz Bar.
The only woman featured this year is Canadian Brandi Disterheft, who will appear with
her quartet on the 29th at l’Astral. A former
student of Rufus Reid and Oscar Peterson, she
was so highly esteemed by the latter that he
even compared her to none other than his former associate Ray Brown. More Esperanza
Spalding than Joëlle Léandre, she is one of the
jazz scene’s rising stars in this country and was
hailed as such in one CBC broadcast.
Another great instrumentalist who deserves
to be heard is Toronto’s leading classical dou-
TRANSLATION: REBECCA ANNE CLARK
Jazz en Rafale, March 21st-24th and 29th-31st
www.jazzenrafale.com
LISTENING HINTS
• Alain Bédard and the Auguste Quartette,
Homos Pugnax, Effendi, FND115
• Alain Caron – Sep7entrion, Norac Records
• Brandi Disterheft, Second Side, Justin Time,
JTR 8544 (New album to be released in May)
• L’Orchestre de Contrebasses,
Musique de l’Homme, Mélodie MG0413
• Joel Quarrington, Garden Scene,
Analekta, AN 2 9931
• Rufus Reid’s Out Front Trio
Hues of Another Blue, Motema MTM58
ANOTHER SPECTRUM
by MARC CHÉNARD
On February 24, tenor saxophonist Yannick
Rieu premiered “Spectrum 3”, a tribute show
to the legendary Quebec fusion band Uzeb
that will be heard this month in Shebrooke
(21st) and Quebec City (23rd). As expected, the
group was electric, with drums and electric
bass, but no guitar. At the end of March, Rieu
is back again in town with another special
concert, this time an all-acoustic affair with
28
MARCH 2012
Cuban pianist Rafael Zaldivar. “Spectrum has
existed since 2007,” explains Rieu, “but I use
this name to label all of my projects. In the
past, I hired different musicians and I experimented with them, like at Le dièse onze,
where I am able to play about twice a month
– that’s my laboratory.”
In 2009, Rieu released a double offering on
Justin Time, including a DVD filmed during
one of his frequent tours of China. He speaks
enthusiastically about his experiences there,
and also mentions a cultural centre dedicated
to musician exchanges that will open late in
the year, a subject to which we’ll return in
due time. As for the near future, however,
he’s planning the release of a new album, this
time on his own imprint. Please stay tuned
for further developments.
» Yannick Rieu and Spectrum 4 on stage at Gesù
Centre de créativité, March 31st, 8 p.m.
TRANSLATION: REBECCA ANNE CLARK
sm17-6_EN_p28-31_Jazz_sm17-6_FR_pXX 12-03-05 2:42 PM Page 29
JA Z Z R E V I E W S
Hear them Live
by MARC CHÉNARD
Harris Eisendstadt : Canada Day II
Songlines SGL-1589-2
www.songlines.com
####$$
He is now part of a
growing contingent of
Canadians residing in
the Jazz Mecca. Haling
from Ontario, drummer
Harris Eisenstadt is
now carving his spot
there as leader of a quintet working in the contemporary American jazz mainstream. While
“Canada Day”, the band’s name, may be his
way of wearing his nationality on his sleeve, it
so happened the band’s first gig occurred on
July first. Issued on Vancouver’s Songlines
label, this sophomore recording is a concise
offering clocking in under 50 minutes comprised of eight of the leader pieces. Like its
debut album (on Clean Feed), this combo differs from the standard jazz quintet lineup by
DRUMMERS
in CHARGE
by ALAIN LONDES
Successful musicians tend to spread themselves out over several projects, activities, and
roles. They are performers, composers, educators, producers, and more. Two recent albums represent distinct drummers leading
their own groups, the first a big band, the second a combo. Both Tommy Igoe and Kevin
Crabb started their musical journeys at a very
young age: Following very different paths,
they gained experience in a wide range of performance settings. All jazz drummers could
well be familiar with their playing styles, even
their instructional tips, for instance Igoe’s
Groove Essentials DVD or Crabb’s educational articles in Modern Drummer magazine.
Tommy Igoe and the Birdland Big Band:
Eleven
Deep Rhythm Music: 2011
#####$
Tommy Igoe leads a topof-the-line and eclectic
19-piece band through a
rich collection of numbers. On Eleven, the listener gets a taste of this
New York outit’s reper-
substituting the piano for the vibraphone, here
played by Chris Dingman. Its lighter sound
gives something of a more floating feel to the
music, rather than weighing it down harmonically. Also of note in the cast are tenorman
Matt Bauder who adds punch in the soloing
department, with trumpeter Matt Wooley acting as a perfect foil, a tad less daring, yet ripping off one good solo in “To See/Tootie”.
Both the leader and bassist Eivind Opsik
underpin the proceedings in a fluid way, ensuring a sense of pulse to the music without
lapsing into slavish time keeping. Overall, this
is very much a carefully realized studio album,
with a lot of composed parts to it, and their
upcoming live performance in town will be a
worthy opportunity to seem them stretch out
on their finely crafted music.
In concert, Casa del Popolo, March 4.
The October Trio : New Dream
Songlines SGL-1593-2 www.songlines.com
####$$
Some three weeks later, the October Trio, a
Vancouver pianoless unit fronted by saxo-
phonist Evan Arntzen,
debuts in Montreal.
With drummer Dan
Gaucher and bassist
Josh Cole in the fold,
this band covers a kind
of post free-bop terrain.
While bands like these
are frequently driven by powerhouse blowers
of great stamina, this one, however, is anything but hyperactive. In just over 40 minutes,
these relative newcomers tackle eight pieces,
six of them attributed to its members, and of
the remainder, they whistfully cover a Björk
number (“You’ve been flirting again”). On a
couple of tracks, Arntzen overdubs himself (on
soprano and clarinet on “Wide”, and tenor and
clarinet on “Potential Bog”, second and
seventh track respectively). The music here
moves along somewhere between a medium
to fast tempo, and is definitely groove-oriented, albeit not in any mechanical way. By no
means ground-breaking, this trio is quite content to pursue the muse as it sees fit, rather
than reckl``essly pulling out all stops.
In concert, Casa del Popolo, March 28.
toire played on a regular basis every Friday night
at Birdland. The side kicks off with “New
Ground”, an engaging original with an infectious soca (soul calypso) groove by saxophonist
and New York Voices member Darmon Meader.
“Open Invitation”, also by Meader, is heard towards the end of the album, and trumpeter
Glenn Drewes lends a Mangione 70s feel to the
relaxing melody. Precise band clapping and Rob
Paparozzi’s harmonica give Bobby Timmons’
“Moanin” a decidedly swinging and bluesy touch.
Next up are Chick Corea’s classic “Armando’s
Rhumba” followed by “Got A Match”. Among the
standout tracks are “Spherical”, a funky fusion
tune by Michael Brecker, and Hancock’s harmonically enticing hit number “Butterfly”. For
some full-octane burning Latin big band sound,
Igoe picked the energetic “On Fire” by Michel
Camilo, featuring the percussively pianistic
Hector Martignon and altoist Matt Hong. Also
of note are the brass arrangements reminiscent
of Bob Mintzer’s big band writiing, but truly
updated for the 21st century. The Birdland Big
Band is a crisp outfit on all fronts. What’s more,
the 11 pieces are well balanced, varied in style,
and offer plenty of great listening.
www.tommyigoe.com
Kevin Crabb: Waltz For Dylan
Crabbclaw Records: 2010
www.cdbaby.com
###$$$
A dual citizen, Kevin Crabb makes LA his
home. This snare drum specialist has
played with a host of musicians on both
sides of the border. For this set of original
compositions dedicated
to his son, he is joined
by pianist John Beasley
and two stalwart Torotonians, bassist Don
Thompson and saxophonist Kelly Jefferson.
Waltz For Dylan is
a collection of nine originals structured
with a very personal connection in mind,
the ambiance intimate for the most part.
The opener “Ecology” is an easy 4/4
swing, followed by the ballad “Unbelievable But True”, where Jefferson switches
to
soprano for additional emotional
textures bearing discreet melancholic
overtones. The technical abilities of each
musician, including the leader, shines
through on the fast paced but somewhat
short number “It Could Happen”. In contrast, “Flight” opens with some delicate
piano tones which dovetail into an easygoing ballad featuring contemplative
solos from Jefferson and Thompson. This
tune, which Crabb calls his favourite on
the disc, is very much like the opener. The
tempo picks up nicely after that with
“Spirit Dance’, an easy samba beat that
segues into a spritly montuno on drums.
To close off this offering, the up tempo
“Nightscape” includes some very subtle
Latin elements for effect, with the contemplative title track winding things down
nicely, and showing everyone to good advantage.
MARCH 2012
29
sm17-6_EN_p28-31_Jazz_sm17-6_FR_pXX 12-03-05 2:42 PM Page 30
JA Z Z
If you plan to head down to the Big Apple this
month, take note of the following event: a festival dedicated to the Swiss label Intakt. From the
1st to the 15th, no less than 13 of them will share
the stage with as many American counterparts
at the Stone, that tiny East Village hangout sponsored by John Zorn. Among the former, pianists
Irène Schweizer and Sylvie Courvoisier (the latter
fully established in the city) will take part as well
as drummer Pierre Favre; among the ‘locals’,
Oliver Lake, Andrew Cyrille, Mark Feldman, Eliot
Sharp, even the indomitable Fred Frith will be
part of the action. Founded in 1984 to record the
works of Ms. Schweizer, Intakt is now a leader of
the pack in contemporary European jazz and
improvised music, with a catalogue of some 200
titles. Here are two of their latest releases:
Irène Schweizer: To Whom It May Concern
(Solo Piano, Tonhalle Zürich)
CD200
####$$
Accustomed to solo piano, this 70-year-old
grand dame demonstrated her artistry last
April in an impromptu recital performed at
one of the prestigious European concert
halls. With age comes wisdom, they say,
and that seems to be the case here. With
equal enthusiasm, she draws inspiration
from Monk, South African music, even
Carla Bley, with occasional outbursts reminiscent of her Free Jazz days. Very much in
command technically, she may well not feel
as compelled to play with the reckless abandon of yore, but is more intent on enjoying
herself, and keeping the audience on that
wavelength.
Jürg Wickihalder European Quartet (Feat.
Irène Schweizer) Jump!
(CD 194)
####$$
More than 30 years the junior of Irène
Schweizer, soprano (and sometimes alto)
saxophonist Jürg Wickihalder is a disciple of
Steve Lacy, and the influence is apparent in
his playing, his pieces also tinged with very
Monkish twists. Both he and the pianist offer
their share of the fun with fine rhythm backing by two more compatriots. Post-freebop to
MC
make you drop!
Jürg Wickihalder plays in Montreal on March 21st.
For more information on Intakt and the festival program, visit www.intaktrec.ch.
TRANSLATION: REBBECCA-ANNE CLARK
30
MARCH 2012
by MARC CHÉNARD
Much has been said about Free Jazz, both pro
and con. In France for instance, the 1971 study
Free Jazz Black Power took up the cause,
while ten years later, Feu le Free Jazz took the
opposite tack. Some four decades later, this
music is still around, and in all shapes and
forms. Like its predecessors (swing and
bebop), Free Jazz has its own history, and is
now subject of (re)discovery by means of
newly unearthed documents.
In Montreal, the now-legendary (if not
mythical) Quatuor de Jazz Libre du Québec
(QLJQ) pioneered the genre, leaving but a single trace of its meteoric existence: the eponymous and never-reissued LP co-produced by
Radio-Canada and London Records. But now,
some 37 years after disbanding, a second
album has just seen the light of day. Entitled
simply Le Quatuor de Jazz Libre du Québec
1973 (Tenzier TNZ8051, www.tenzier.org),
this recording is culled from a Radio Canada
(French network) broadcast. This historic release merits attention, if only for its limited
edition of 300 copies, on vinyl only (the producer’s choice). Appearing on this 41-minute
studio session are its two main protagonists,
trumpeter Yves Charbonneau and tenorist
Jean Préfontaine (doubling on flute), with
Jean-Marc Poirier on drums and Yves Bouliane rounding off the cast on double bass. The
latter, in passing, is but one of its two surviving members, the other being its original
drummer Guy Thouin.
Inspired as much by the intensity of the
American “New Thing” as by the heated
sociopolitical climate of the time, the QLJQ
championed the cause as early as 1967. Caustic for the most part, the music was a natural
extension of its proponents’ views, which in
turn would land them into trouble (as in the
wake of the October Crisis), yet still achieving
a certain measure of public recognition, as in
their fleet acquaintance with the then iconoclastic Québécois singer Robert Charlebois.
But how then does this music stand up nowadays? For those who lived through those heady
times, it dusts off distant memories thinly
veiled under a veneer of nostalgia; for others,
however, the music reveals an essential quality, namely, a sense of urgency all too rarely
heard in today’s music, jazz and beyond. If
physics tells us “nothing gained, nothing lost,”
art tells us that all is to be gained when nothing is lost!
LSM
Sam Rivers (1923-2011)
ÉMINENCE GRISE OF BLACK MUSIC
by FÉLIX-ANTOINE HAMEL
Free Jazz lost one of its guiding spirits on Boxing Day 2011. Saxophonist, flutist, and composer Sam Rivers was an often-underground yet
nevertheless weighty force in the American Free
Jazz scene for over four decades. After an apprenticeship in Boston in the
1940s and 1950s, he was
brought to the attention of
jazz enthusiasts in 1964,
during a brief stint with
Miles Davis’ quintet. He became a habitué of the Blue
Note studios for a series of
recordings under his
name, turning up on sessions from some of that
label’s more “progressive”
musicians including Andrew Hill and Bobby
Hutcherson. In the late
1960s, he meshed with the
driving forces of the genre
like Cecil Taylor and Bill
Dixon. As a teacher, Rivers,
PHOTO Riku
LIVE FROM THE
JAZZ MECCA
FreeJazz then... and now?
along with his wife Beatrice, founded the RivBea
Studio in 1971. It became the Mecca of the New
York loft jazz scene for that decade, and the
venue where the celebrated Wildflowers albums
were made, the prime source of that period’s
documentation of avant-garde jazz. Concurrently the saxophonist was touring actively, his
most frequent collaborators being Dave Holland
and Barry Altschul. By the 1980s, his sinuous
tenor, agile flute, and percussive piano have lend
themselves to a variety of contexts, ranging from solo outings (Portrait) to allsaxophone groups like Winds of
Manhattan and all the way to the
RivBea Orchestra, a true intergenerational big band. www.rivbea.com
LISTENING HINTS:
» Fuchsia Swing Song
(Blue Note, 1964)
» Trio Live (Impulse, 1973)
» Crystals (Impulse, 1974)
» Contrasts (ECM, 1979)
» Inspiration and Culmination
(BMG, 1998)
TRANSLATION: REBBECCA-ANNE CLARK
sm17-6_EN_p28-31_Jazz_sm17-6_FR_pXX 12-03-05 2:42 PM Page 31
JA Z Z CA L E N DA R
(Featured artists at the resto-bar Le
dièse onze. Thurs. 15: Visions de
Kerouac. Thurs. 22: À la croisée du
jazz Project. 8:30
Fri. 9 » Vocalist Lorraine Klaasen and
tribute to Miriam Makeba. Upstairs
Jazz Bar. 8:30
» Pianist Yves Léveillée and his quartet.
Auditorium le Prévost. [872-6131]
Sat. 10 » Baritone saxophonist Carl
Maraghi and his quartet.
Le dièse onze. 8:30.
PHOTO Bo Huang
» The Coyote Bill ensemble.
(Jazz groove). Upstairs. 8:30
Sun. 11 » Drummer Karl Schwonich
and his group with guest Rémi Bolduc
on alto. Upstairs Jazz Bar. 8:30
YANNICK RIEU (AND
SPECTRUM 4), MARCH 31st
JAZZ+
All concerts subject to change
without prior notice.
Unless otherwise stated, all phone
numbers listed are within the 514 area
code. All times listed are PM.
Sun. 4 » Guitarist David Jalbert.
Upstairs Jazz Bar [931-6808]. 8:30
» From New York, Harris Eisenstadt and
the Canada Day Quintet.
(see record review in this section).
Casa del Popolo. 9:00
Tue. 6 » Les mardis Spaghetti, weekly
improvised music series at the Cagibi,
9:00 [Programm online:
www.myspace.com/mardispaghetti]
Wed. 7 » Vocalist Jessica Vigneault and
pianist John Sadoway pay tribute to the
Tony Bennett and Bill Evans duo. Restobar Le dièse onze [223-3543] 8:30
» Mercerdismusics, weekly series of
improvised music at the Casa Obscura.
9:00 (www.casaobscura.com)
Thur. 8 » Volutes. Mireille Proulx (vln)
and John Sadoway (pno). Maison de la
culture Frontenac. [872-7882] 8:00
Thur. 8 and Thur. 29 » Normand
Guilbeault and the Kawandak Project.
Thur. 15 » Julie Lamontagne Locos Quartet
(Jazzes-tu ? – carte blanche series)
Maison de la culture de Côte-desNeiges [872-6889]. 8:00
» Jazz and poetry night (co-produced
with the Off festival de jazz).
Maison de la culture Frontenac.] 8:00
Fri. 16, Sat. 17 » Trumpeter Kevin Dean
and his quintet. Upstairs Jazz Bar. 8:30
Tues. 20 » Guitarist David Myles.
Upstairs Jazz Bar. 8:30
Mer. 21 » Pianist Félix Stüssi and his trio
with special guest, Swiss saxophonist
Jürg Wickihalder. (See record review in
this section.) Chapelle historique du
[872-2266]. 8:00
Bon-Pasteur [872-5338]. 8:00
Thur. 22 » Julie Lamontagne Trio +
» From Vancouver, the October Trio
Carole Nadeau (voice) – Tribute to Her- (see record review in this section).
bie Hancock. Maison de la culture de
Casa del Popolo. 9:00
Côte-des-Neiges. 8:00
Sat. 31 » Yannick Rieu and Spectrum 4
Fri. 23 » Bassist Frédéric Alarie and his (featuring pianist Rafael Zaldivar). Gesù
trio. Le dièse onze. 8:30
centre de créativité. [861-4378] 8:00
» Sun. 25 » Let Go.
(Tentet of guitarist Gary Schwartz).
Power Jazz Series. Segal Centre.
[739-7944] 8:00
Wed. 28 » Les Boppers. Maison de la
culture du Plateau-Mont-Royal
EVENTS OF THE MONTH
Effendi Jazz en Rafale,
12th
edition
(See lead article of this section)
Wed. 21 » From France, L’orchestre
de contrebasses. L’Astral, maison de
jazz Jazz Rio Tinto Alcan. 8:00
Sun. Apr. 1 » Record launch of the
group headed by drummer Simon
Delage. Upstairs Jazz Bar. 8:30
» Vocalist Angela Galuppo and the
Saint-Ange Jazz Ensemble. Power Jazz
series. Segal Arts Center. 8:00
historique du Bon-Pasteur. 8:00
Fri. 23, Sat. 24. » From New York,
quartette of bassist Omar Avitale.
Upstairs Jazz Bar (Two separate
shows at 7:30 and 10:00.)
Thur. 29 » Bassist Brandi Disterheft
and her band. L’Astral 8:00
Thur. 22 » Rémi Bolduc Jazz
Ensemble with guest bassist Dave
Young from Toronto. L’Astral. 8:00
» The Fraser Hollins Quartet. Upstairs
Jazz Bar. 8:30
Fri. 23 » Alain Bédard and the Auguste 4TET. Upstairs Jazz Bar. 8:30
Fri. 30 » Alain Caron Se7tentrion.
L’Astral. 8:00
From New York, Donny McCaslin
(tenor sax) with bassist Fina Ephron,
pianist Uri Caine et drummer. L’Astral.
8:00
Sat. 24 » From Toronto, double bassist
Joel Quarrington de Toronto with
pianist Jacques Desmarais. Chapelle
Fri. 30, Sat. 31 » From New York, bassist
Rufus Reid and his Open Front Trio
Upstairs Jazz Bar (Deux separate
shows at 7:30 and 10:00.)
Sat 31 » L’orchestre de contrebasses
du Québec. L’Astral. 8:00
SEEKS VOLUNTEERS FOR:
•Fundraising
• Distribution
• Project
Management
• Public Relations
• Editing
• Website
514-948-2520
[email protected]
YANNICK RIEU
SPECTRUM4
MARCH 31 2012, 8 PM
AT GESÙ, 1200 DE BLEURY, MONTRÉAL
TICKETS: 514 861-4036 / WWW.LEGESU.COM
OR 1-855-790-1245 / WWW.ADMISSION.COM
with YANNICK RIEU, RAFAEL ZALDIVAR,
SAMUEL JOLY, and RÉMI-JEAN LEBLANC
MARCH 2012
31
sm17-6_EN_p32-33_Berliner_sm17-6_FR_pXX 12-03-05 2:41 PM Page 32
MUSÉE DES ONDES
The Berliner gramophone legacy
A Recorded History
by JEAN-PIERRE SÉVIGNY
rom Caruso to Elvis to Lady Gaga, we
can trace our collective audio DNA
back to gramophone inventor Emile
Berliner. In October 2011, Oliver
Berliner, grandson of the famous inventor, returned to Montreal to the spot where
his grandfather launched his first record company in 1900. This homecoming has inspired
hope and apprehension in the milieu.
F
MONTREAL, 1900
Oliver Berliner was born in Montreal at the
start of the 20th century. He worked as a record
producer and music publisher. He has “very
fond memories” of his time spent in Montreal.
He visited the RCA building, which houses the
small Berliner Museum, the historic Studio
Victor, and the Table Tournante café, where he
was happy to find artefacts (gramophones,
photos, etc.) related to the history of the
Berliner/RCA factory, objects that the Museum
lent to the restaurant owner. He also visited the
Bell Museum, the new recording studio at
McGill University as well as his childhood
home, on the corner of Argyle and Westmount.
This return to his roots was emotionally
charged. Talkative and well-informed, Mr.
Berliner also participated in a documentary.
In an interview, he summarized Emile
Berliner’s contributions. “Grandfather created
the gramophone, (today known as the phonograph), the flat phonograph disc, and the first
microphone for the Bell company, and he
founded no less than three of the world’s
largest record companies: Germany’s Deutsche
Grammophon, which celebrated its 111th anniversary in 2009, England’s EMI and Victor
Talking Machine (today Sony) in the States.
This industry giant also kicked off Canada’s
record industry in 1900 by founding the
Berliner Gram-0-Phone Company.” It’s a
pretty impressive record for someone virtually
unknown by the public.
The site today is called the RCA
building and is located in
the
Saint-Henri
Emile Berliner moved to Montreal in 1908 and opened the Berliner Gramophone factory in St. Henri.
PHOTO Studio Victor archives
neighbourhood, on the corner of
Saint-Antoine and Lacasse. It’s “the
site” of recording history in Canada
and one of the only ones in the world
that is still intact. For example, the
heritage site Pathé-Marconi, located
in the Commune de Chatou (Île-deFrance) was knocked down in 2004.
It’s hard to imagine that the historical heart of
French and European audiovisual heritage
was destroyed. The members of the Musée des
ondes Emile Berliner (MOEB) point out that
the RCA building is also at risk if no
action is taken. Danger looms.
They don’t want another Chatou. This is what motivated
Oliver Berliner’s pilgrimage.
He came to reaffirm his unwavering support of the
Berliner Museum’s purchase and renovation
project.
“I am thrilled to have
finally visited the museum
and met the directors who
have dedicated so much
time and energy to it. I
learned a lot about the museum and the oper-
Emile Berliner patented the gramophone in 1887.
32
MARCH 2012
ations of my grandfather’s record company, Berliner Gramophone. I will help
in any way possible to develop what will
be an important asset for the City of
Montreal and a major tourist attraction
for millions of fans, researchers and
students.”
In view of the heritage site’s potential permanence, the “Berliner—cité des ondes”
was launched in 2009 and MOEB administrators are currently negotiating with the different levels of government to ensure their
support. The City of Montreal must also proceed with a complete heritage status evaluation of the RCA site over the next few months.
LEGENDARY RECORDING STUDIO
The site is also home to the historical Studio
Victor. In 1943, RCA built what became
Canada’s oldest recording studio still in operation on the site next to the Berliner Factory.
Big names in Canadian music flock here to
record. The studio has a great reputation here
and abroad, especially for recordings that require optimal acoustic quality. Someone quite
famous even stopped by unannounced to visit
the studio: none other than the Beatles’ producer, Sir George Martin.
In the universe of international recording
heritage, historians consider the RCA site as
top rank. Jean-Luc Rigaud, industrial heritage
specialist, recently published Pathé Marconi,
sm17-6_EN_p32-33_Berliner_sm17-6_FR_pXX 12-03-05 2:41 PM Page 33
EMILE BERLINER
for the metropolitan area. The cultural tourism
sector is very competitive. Each city has its own
strategy. To attract visitors, Toronto didn’t hesitate to build new cultural attractions. Montreal,
however, already has many important heritage
sites, such as the RCA-Victor Complex, which
need to be spotlighted.
LSM
TRANSLATION: LINDSAY GALLIMORE
1. Jean-Luc Rigaud. Pathé Marconi, de la musique à
l’effacement des traces. Paris, Garnier, 2011.
www.berliner.montreal.museum
www.studiovictor.ca
de la musique à l’effacement des traces with
Éditions Garnier. He came to Montreal in 2010
to focus on what he called “the Québec experience.” He notes that the RCA building holds
significant architectural, technological and cultural historical value. From a moderately positivist point of view, he specifies that the future
of the Berliner Museum now depends on negotiations with the new owner, real-estate promoter Georges Coulomb, and the eventual
support from all three levels of government. He
unreservedly supports the complete renovation
project. “This museum space, representing
centuries of history, would become a privileged
spot, unique in the world, protecting Québécois, Canadian, American and even international cultural and industrial memory1.”
However, prophets count for nothing in
their own country. Here, few people understand the value of the RCA building. “It’s an
important historical site in the city, and the
sound studio is unique,” says Phyllis Lambert
from the Canadian Centre for Architecture.
For Dinu Bumbaru from Heritage Montreal,
an organization that works to promote and
protect the architectural, historical, natural
and cultural heritage of Greater Montreal, “the
heritage value of buildings is often hidden in-
side… in the case of the RCA building, the Victor Studio has an extraordinary history.” He
points out that the new Québec law on heritage, adopted in 2011, will give municipalities
power to recognize buildings based on their
interiors, adding that “the RCA building would
be a good start.” Concerned about the RCA
site’s permanence, Oliver Berliner confirmed,
before his departure, that he will bequeath to
the museum many objects related to his family’s experience as pioneers of the Canadian
record industry.
Let’s hope that local, provincial and federal
politicians recognize the historical value of this
unique site and contribute to its rehabilitation
and promotion. It is a place for learning and
for remembering, and the site has the potential to become an important tourist attraction
NOLOIV/NILOIV
Université McGill University
roc/nroh
Faculty of Medicine Faculté de médecine
23rd Season / 23e saison
2011 – 2012
IWAN EDWARDS
roc/nroh
roc/nroh
roc/nroh
,STREBOR SEMAJ
,ARADNUG TERAGRAM
,FFUD NOSILLA
,ONIEH ARUAL
Spring
S
i Public Concert Public de Printemps
nuS
Conductor / chef d’orchestre
CAROLINE CHÉHADÉ,
Ralph Vaughan Williams (1872–1958)
Tallis Fantasia / Tallis Fantaisie
eerF
VIOLIN/VIOLON
Robert Schumann (1811-1856)
JAMES ROBERTS, horn/cor
MARGARET GUNDARA, horn/cor
ALLISON DUFF, horn/cor
LAURA HEINO, horn/cor
Concert Piece for four horns (Op. 86)
Piece de concert pour quatres cors
Max Bruch
(1838-1920)
Scottish Fantasy (Op.46) Fantaisie ecossaise
Salle Oscar Peterson Concert Hall
Loyola Campus, Université Concordia University
7141 Sherbrooke O., Montréal, QC
ntrance. Suggested
donation:Suggested
$20 /Entrée
libre. Contribution
sug
Free entrance.
donation:
$20
20$
(514) 398-3603
http://www.imedici.mcgill.ca
MARCH 2012
33
sm17-6_EN_p34-35_Variations+DiscCD_sm17-6_FR_pXX 12-03-05 2:41 PM Page 34
variations
ON A THEME
Looking for a change from your go-to classics?
Take a cue from the LSM team as we recommend listening alternatives to the usual masterworks.
THE MASTERWORK
theatre and the lifeless forms of Petrushka, a
Ballerina and a Moor. A puppet master,
known in the ballet as the Charlatan, magically brings them to life. Jealousy rears its
ugly head between Petrushka and the Moor
and in the end Petrushka is murdered by the
Moor. But, of course, Petrushka is only a
puppet. Or is he? Petrushka’s ghost has the
last laugh, thumbing his nose at the Moor.
Stravinsky’s score contains what has become known in the history of music as “the
Petrushka chord.” It is a C major and an F
sharp major triad played together, creating a
jarring dissonance, but within the ballet a
memorable device indicating the arrival of
Petrushka himself.
Stravinsky revised the score of Petrushka
in 1947. He reduced the size of the orchestra
to make it easier and cheaper to perform, and
he changed some details in the score.
Stravinsky’s Petrushka (1911)
The premiere of Stravinsky’s ballet score Le
sacre du printemps at the Ballet Russe in
Paris in 1913 caused a near-riot. Overnight
the composer became notorious for his
shocking modernism. But two years earlier,
for the same Ballet Russe, Stravinsky had
composed the crowd-pleasing Petrushka.
Stravinsky’s musical language in Petrushka
was every bit as original and contemporary
as Le sacre du printemps but it was leavened
by the inclusion of folk songs and even popular songs.
The subject matter of Petrushka was more
accessible and charming too. It had been inspired by the Russian puppet theatre and featured puppets come to life and played by
ballet dancers. The ballet opens with jolly
music depicting the Shrovetide Fair, the
Russian carnival similar to Mardi Gras. Amid
the hustle and bustle we see a small puppet
PAUL E. ROBINSON
ILLUSTRATION Adam Norris
ÉRIC CHAMPAGNE RECOMMENDS…
FRÉDÉRIC CARDIN RECOMMENDS…
Ottorino Respighi
(1879-1936)
Manuel de Falla
(1876-1946)
Silvestre Revueltas
(1899-1940)
La Boutique fantasque
Year written: 1919
El retablo de maese Pedro
(Master Peter’s Puppet Show)
Year written: 1923
La Coronela
(The Lady Colonel)
Year written: 1939-40
Similarities: Besides having been produced by
the celebrated Ballets Russes of Sergei
Diaghilev, Petrushka and La Boutique
Fantasque both have in common the staging of
love stories with various puppets, the first at a
Russian fair, and the second in a robot factory.
Differences: The music of La Boutique Fantasque is in fact based on the Péchés de vieillesses of Rossini, skillfully arranged for
orchestra by Respighi. Far from the brazen inventiveness of Stravinsky, Respighi’s score
with its rich orchestral colours is light and
charming, reminiscent of Jacques Offenbach’s Gaité parisienne.
ESSENTIAL LISTENING:
Ottorino Respighi:
La Boutique Fantasque
Orchestre symphonique de
Montréal/Charles Dutoit
DECCA 455983 (1999)
34
PAUL E. ROBINSON RECOMMENDS…
MARCH 2012
Similarities: Like Stravinsky’s Petrushka, Similarities: Music written for a ballet about
Falla’s El retablo is about puppets.
the Mexican Revolution. The rhythmic
Differences: Petrushka is a ballet score and El accents, folk references and brilliant colours
retablo is an opera. In addition, while real strongly recall Stravinsky.
puppets are used in Falla’s opera, puppets are
played by ballet dancers in Stravinsky’s ballet.
Finally, Falla’s short opera is far less wellknown than Petrushka but it is one of his most
charming and original pieces.
Differences: The music of La Coronela is more
abrasive than that of Petrushka. In this sense
it is actually closer to Stravinsky’s Rite of
Spring.
ESSENTIAL LISTENING:
ESSENTIAL LISTENING:
Falla: El retablo de
maese Pedro
Soloists and I Cameristi del Teatro
alla Scala/Diego Dini Ciacci
Naxos 8.553499 (1997)
There was also a fine film of the opera made in 1990 by
Dutoit and the Orchestre symphonique de Montréal. Unfortunately, it is currently unavailable.
La Coronela
(The Lady Colonel)
Naxos, 8.552250 (2010)
Hear Stravinsky’s Petrushka LIVE:
• Orchestre symphonique de Montréal/Zeitouni;
March 11
www.osm.ca
TRANSLATION: RONA NADLER
sm17-6_EN_p34-35_Variations+DiscCD_sm17-6_FR_pXX 12-03-05 2:41 PM Page 35
D I S C OV E RY C D
STRAVINSKY
STRAVINSKY
W
CONDUCTS
by PAUL E. ROBINSON
hen great composers speak,
musicians listen. When Igor
Stravinsky, arguably the
greatest composer of the
Twentieth Century, talks
about or conducts his own music, musicians
are well advised not only to listen, but also to
take notes. Nonetheless, it is not a simple matter for a conductor to serve as a stenographer
and merely reproduce what he has heard and
written, even when it comes from the composer himself. Stravinsky was much given to
pontifical utterances, but in practice he was
surprisingly variable and inconsistent.
Stravinsky recorded nearly everything he
wrote, and often several times. He supervised
piano rolls of both Petrushka and Le sacre du
printemps in the early 1920s, then conducted
recordings of them in 1928, 1940 and 1960.
Developments in recording technology help to
explain why he recorded the same pieces so
often. But there were other reasons too. As
Nicholas Cook observes, “one was Stravinsky’s
financial dependence on recording and more
generally on conducting, as a result of the drying up of his Russian royalties following the
1917 Revolution.”
What did Stravinsky think of himself as a
conductor? Here is what he told Robert Craft
in 1958:
Well, reviewers have certainly resisted
me in that capacity for forty years, in
spite of my recordings, in spite of my
special qualifications for knowing what
the composer wants, and my perhaps
one thousand times greater experience
conducting my music than anyone else.
(Conversations with Igor Stravinsky)
Stravinsky has certainly left us invaluable
documentation of himself conducting his own
music. The best sound and perhaps the best
performances are to be found in the Igor
Stravinsky Edition produced by Columbia
Records in the 1960s and released on stereo
LPs. This comprehensive series includes
interviews with the composer and excerpts
from rehearsals. If one wants to see what
Stravinsky looked like when he conducted
there are plenty of examples on YouTube.
Stravinsky was very precise in marking his
scores for publication. He gave metronome
markings for every change in tempo. And he
“Stravinsky the conductor often
took tempi that were different from
those indicated in the score by
Stravinsky the composer.”
often said that his recordings provided further
confirmation of what he wanted as to such matters as tempo, articulation, phrasing and balance. However, on his recordings Stravinsky
the conductor often took tempi that were different from those indicated in the score by
Stravinsky the composer.
Erica Heisler Buxbaum wrote an excellent
paper in 1988 comparing Stravinsky’s score
and recordings tempi for Le sacre du printemps and concludes, “We cannot unquestionably accept either his metronome markings or
his own recorded performance tempi as reliable guidelines.” (Performance Practice
Review Vol. 1 No. 1)
For the American magazine Hi-Fi Stereo in
1964, Stravinsky reviewed three recent recordings of Le sacre du printemps. Then again in
1970 he reviewed three more, including one of
his own. The conductors represented were
Karajan, Boulez (two recordings) and Mehta.
Buxbaum, in the above-mentioned article,
establishes each conductor’s metronome
markings for each section of Le sacre du printemps, compares them to
the metronome markings in the score, and the
composer’s comments in
his reviews. In most
cases the conductors
deviate only in minor ways from the
metronome markings in the score and yet
Stravinsky is often very critical. For example,
in the Augers of Spring section, Boulez takes a
tempo of 56 to the half note when the marking
is 50 to the half note, and Stravinsky comments
“much too fast.” In the Introduction to Part Two
Karajan is called to account—“sleepy tempo”—
for taking a tempo of 44-46 to the quarter when
the marking is 48, and Stravinsky’s comment
on his own recording—which is exactly the
tempo marked in the score—is “too fast.” In the
Sacrificial Dance (Danse Sacrale) at the end,
Stravinsky takes almost the same tempo as
Karajan, but Karajan’s is characterized as
“sluggish tempo.”
Buxbaum focuses almost entirely on tempi
in her article, but in his reviews of various current recordings Stravinsky offers comments
on other matters too. On Karajan’s 1963
recording with the Berlin Philharmonic
Stravinsky wrote that the performance was
“generally odd, though polished in its own way,
in fact, too polished, a pet savage rather than a
real one…there are simply no regions for soulsearching in the Rite of Spring.” I have no
doubt that Karajan was stung by this review.
But instead of quietly dropping the piece from
his repertoire he took the composer’s comments to heart. He made another recording of
Le sacre du printemps in 1977 and it is infinitely better. The tempi are faster, the accents
are sharper and the articulation is crisper.
Stravinsky tended to be very rigid about
how his music was to be played when he was
a young man. But with age, and more experience conducting his own music and making
recordings, he came to realize that there are
more possibilities than he once thought:
I have changed my mind…about the advantages of embalming a performance
on tape. The disadvantages, which are
that one performance represents only
one set of circumstances, and that mistakes and misunderstandings are cemented into traditions as quickly and
canonically as truths, now seem to me
too great a price to pay. (Themes and Conclusions, 1969, revised 1971)
LSM
For the March Discovery CD, La Scena Musicale and
Espace 21 present a historical recording of Stravinsky’s
Petrushka. This 1960 recording features the Columbia
Symphony Orchestra directed by Stravinsky.
MARCH 2012
35
sm17-6_EN_p36_St-John_sm17-6_FR_pXX 12-03-05 2:40 PM Page 36
P O RT R A I T
LARA ST. JOHN GOES
PHOTO Twain Newhart
BACK to BACH
by CRYSTAL CHAN
W
hen I ask her what draws her
to Bach, Lara St. John laughs
before adding, “What doesn’t?” St. John started Suzuki
violin at two. At four she performed Bach’s Concerto for Two Violins. She
cherished the family LP of the Mass in B
Minor. “I remember playing [the Partita No.
3 in E Major] at four or five [and] thinking:
‘Wow! This is so much better than all these
other little pieces that I had to play,’” she says.
By thirteen, St. John had learned all Bach’s
sonatas and partitas for solo violin. That same
year she was accepted to Curtis.
St. John then launched her career with a series of Bach recordings, but she hasn’t done
one since 2007. After recording Hindson,
Corigliano, Liszt, Vivaldi, Piazzolla, Mozart,
and even polka dances she’s back to Bach with
an album of sonatas played with Berlin Philharmonic principal harpist Marie-Pierre
Langlamet. There’s the twist: the harpsichord
parts are filled by harp, note for note. “There’s
more nuance possible with harp,” St. John insists. “I don’t think I’ll ever be able to do those
again with keyboard.” Harpsichord players
won’t be the only ones up in arms; the record
also includes three flute sonatas. “Flute players have very little repertoire so they’re going to
say: ‘Why are you violinists stealing our
sonatas?” St. John predicts with another laugh.
Those sonatas were chosen because their
harpsichord parts, written with a wind instrument partner in mind, are less contrapuntal and
more natural to play for Langlamet, who has
played the Sonata in G Minor in concert several
36
MARCH 2012
ST. JOHN with her 1779 “Salabue” Guadagnini violin. When she asked the anonymous donor of the
1702 “Lyall” Stradivarius which she was lent in 1997
to lend her the Guad instead, “he was confused,
because as a businessperson the Strad I was
playing was worth at least twice as much. But I
don’t care about that—or the name or anything—this could be made yesterday in Timmins
for all I care! It just has such an incredible sound
and so much power. I don’t think any orchestra
has drowned me out in the past fourteen years!”
times (including at her 1990 New York City
recital debut with Sandra Miller on flute). St.
John also cites period practices: “Flute and violin at that time were pretty much interchangeable.” She says she is interested in historically
informed performance but doesn’t play with gut
strings or at 415 Hz on the record. She finds the
latter tough due to her perfect pitch.
Ultimately, “to make what you do stand out
is the problem,” she says. “Everybody and
their sister and brother and dog has an album
now.” Replacing the harpsichord provided the
fresh take on these standards that St. John
looks for to justify a release.
This is a far cry from why St. John’s early
albums garnered attention. Her 1996 debut—
BACH ORGAN
“I’m a Bach organ music fanatic. I have every
single piece he ever wrote for the organ. The
guy just, in my opinion, has not been equalled
in over 300 years.” Favourite Bach organ interpreters: Anthony Newman, Marie-Claire Alain
Check: Fugue in D Minor for organ and Sonata
No. 1 in G Minor, second movement (fuga) for
violin—they’re the same piece.
with its cover showing St. John with a wellplaced violin and nothing else—ruffled feathers. The monochrome image is tasteful, but
nevertheless, at six feet tall and with long
dirty-blonde hair, her looks and outfits attracted media commentary as if she were a
pop instead of a classical music star. “The
point was that it was a violin and a person and
nothing else,” says St. John. “What’s inside the
CD didn’t have anything to do with a ball
gown! But it got the record listened to, which
was all I really wanted. There’s no sense in
being creative if nobody hears it.” That album
sold 30,000 copies. Several subsequent covers were also deemed provocative and she was
often described as a wild card in the world of
classical music: in 1998, she married a European pianist, a union that lasted three weeks;
on her website, she posted about how to sneak
into concerts without tickets.
In the end, being in the spotlight gave St.
John a chance to show off her impressive skills
and ensured her a long-standing career. She’s
now recognized for her talent and still in high
demand: in 2011, St. John was only home fiftyseven days. She juggles many commissions.
Next year there will be a Matthew Hindson concerto, an orchestration of John Corigliano’s
Sonata for Violin and Piano, and several
reimaginings of her favourite Eastern European
tunes by young composers, including one by
Montreal jazz pianist Matt Herskowitz. She performed in Hungary several times as a teenager
before studying at the Moscow Conservatory in
1988. She then travelled the region after her
professors defected. She’s already recorded
Eastern European music for Gypsy and Apolkalypse Now and plans to record the new
pieces for Ancalagon, the label she owns. Her
love for the style runs deep: “I remember hearing fantastic gypsy musicians in a restaurant at
12 years old. All of a sudden I thought: ‘Oh my
God, maybe I was born here and they stole me
and took me to Canada!’”
LSM
Hear Lara St. John this month on:
• March 4th with Marie-Pierre Langlamet,
Glenn Crombie Theatre, Lindsay, ON
www.lindsayconcertfoundation.com
• March 5th with Langlamet on 96.3 FM in Toronto, Ontario, (10 a.m.)
• March 8th on Q with Jian Ghomeshi, live from
the Grand Theatre, London, ON www.cbc.ca/qc
• March 10th with the Windsor Symphony, Windsor,
ON www.windsorsymphony.com
• March 15th with pianist Matt Herskowitz, Salle Bourgie, Montreal, QC www.smcq.qc.ca
www.larastjohn.com
Turn to page 38 for a review of Lara St. John
and Marie-Pierre Langlamet’s Bach Sonatas.
sm17-6_EN_p37_ADs_sm17-6_FR_pXX 12-03-05 2:40 PM Page 1
UPCOMING
CONCERTS:
SHARE EN!
TE
THE
EXPERIENCE
RING A
B
[email protected]
Chamber Players of
Canada
20 March 5, 19 and 20 •
[email protected]
A “Bring a Teen”
ticket is offered for
free with the
purchase of an
adult ticket.
Be the future of
classical music.
Attend concerts
today.
* number of tickets
limited. Check website
for more details.
Carolyne Barnwell & Paula Bourgie
Orchestre philharmonique
Équitable
March 31 •
Ensemble Telemann
March 24 •
[email protected]
Orchestre symphonique de
Laval
March 14 •
[email protected]
Productions Claudel
Callender
April 1 •
[email protected]
I Musici de Montréal
March 1, 2 and 3 •
[email protected]
Segal Centre for
Performing Arts
March 1, 29 and April 1 •
514-739-7944
Les Idées heureuses
March 4 •
514-285-2000x4
McGill Chamber Orchestra
March 26•
[email protected]
Montréal Choral Institute
March 1 •
[email protected]
Sinfonia de Lanaudière
March 25 •
[email protected]
Société de musique
contemporaine du Québec
March 31 •
[email protected]
Montréal Chamber
Orchestra
March 19 • 514-285-2000
x4
›
TEEN-ADO.SCENA.ORG
WWW.FACEBOOK.COM/ADO.TEEN
SINGING VALENTINES
Thank you!
SINGERS
"My wife was very delighted to receive it, and, subsequently, so
was I!" - George King
"Sang quite beautifully, good deal, and we really appreciate it."
- Kevin Super
Isaiah
Bell,
tenor*
Frédérique
Drolet,
soprano*
JeanMichel
Richer,
baritone*
Karine
Boucher,
soprano*
Emma
Parkinson,
mezzo*
PriscillaAnn
Tremblay,
mezzo**
Wah Keung Chan, tenor
NEXT
Singing Greetings by
phone for birthdays
and Mother's Day!
Available anywhere in
North America.
$25 donation
[email protected]
dons.lascena.org
514-948-2520
priscilla-anntremblay.com
with Rachel Martel, pianist
* Member of the Atelier lyrique of the Opéra de Montréal (pianists: Tina Chang, Marie-Ève Scarfone, Claude Webster)
** winner of the Prix d'Excellence pour les Arts et la Culture 2011 de la Fondation de l'Opéra de Québec
sm17-6_EN_p38-39_CDs_sm17-6_FR_pXX 12-03-05 2:40 PM Page 38
REVIEWS
» cds • dvds• books
Chicago Symphony Orchestra Brass Live:
Works by Gabrieli, Bach, Revueltas,
Prokofiev, Grainger and Walton
Chicago Symphony Orchestra Brass
CSO –Resound CSOR 901 1101 (64 min 46 s)
###$$$
In the days when Adolph
who embrace classical instruments. Dizzy yet?
Bach Sonatas
O’Riley proves a gifted writer for cello as Herseth led the trumpet
Lara St. John, violin; Marie-Pierre Langlamet, harp
well as piano. Haimovitz is a master of his in- section (1948-2001) the
Ancalagon ANC 139 (64 min 39 s)
strument; O’Riley’s got him nearly teetering Chicago Symphony brass
####$$
off his soundboard with transcriptions of playing was the stuff of
Marie-Pierre Langlamet
Bernard Hermann’s Vertigo soundtrack and legend. It is still a fine
and violinist Lara St.
there’s not a squeak. Janáček’s Pohádka is the brass section but without
John play two violinhaunting standout from the first disc and Ma- Herseth’s commanding
harpsichord and three
havishnu Orchestra’s The Dance of Maya, presence it is far less thrilling and far less disflute-harpsichord
complete with a boogie piano solo, is the one tinctive. Surely the conductors had something to
sonatas note for note
from the second. That’s the funny part—this do with it too. Reiner and Solti encouraged that
with a twist—the harpaggressive and penetrating sound while more resichord parts are covered by Langlamet, prin- attempt at a postmodern, borderless listening cent conductors have something else in mind.
experience
is
divided
into
‘classical’
and
‘pop’
cipal harpist of the Berlin Philharmonic.
The programme on this disc is not very imagiUnfortunately, harp does not give that crisp, discs; it’s more like a curated mix tape than a native. Walton’s Crown Imperial March is loud
pre-loaded
iPod.
But
that
can
be
easily
fixed
even tone associated with Bach. Its lightness
without being exciting, and the Eric Cress
also diminishes the contrapuntal play between if you take the title to heart. CRYSTAL CHAN arrangement of Bach’s Passacaglia and Fugue
the keyboard and soprano instrument, so that
in C minor sounds curiously unidiomatic. Percy
the violin becomes the star attraction (although Gluck: Ezio
Grainger’s Lincolnshire Posy is a quirky set of
Max
Emanuel
Cencic,
countertenor
(Valentiniano),
this is also due to recording technique). The
pieces but sounds better in its original wind band
Sonata in G Minor for flute has the best bal- Ann Hallenberg, mezzo-soprano (Fulvia), Sonia Prina,
version. Come to think of it, nearly all the music
contralto
(Ezio),
Mayuko
Karasawa,
soprano
(Onoria),
ance, perhaps because it’s scored for neither of
on this CD is a transcription of a piece quite fathem. At any rate, St. John’s finely-played per- Topi Lehtipuu, tenor (Massimo), Julian Prégardien,
miliar in its original and better version. The CSO
tenor
(Varo);
Il
Complesso
Barocco/Alan
Curtis
formance deserves focus as she clearly has an
Brass would have been better off choosing some
affinity for the cadence of Bach. The more sub- Virgin Classics 5 0999907 092923 (2CD: 146 min 53 s) of the many fine works actually written for brass.
####$$
dued keyboard part isn’t necessarily a bad thing,
PAUL E. ROBINSON
either; Langlamet is a first-rate musician and Often neglected by the dicher harp breathes a lilting freshness into the tionaries, Ezio, dramma
Shostakovich: Symphony No. 6,
pieces. Its timbre also lends an appropriately per musica (1750) is one
Symphony No. 12 “The Year 1917”
stately aura. St. John says that she so prefers of around thirty operas
Royal Liverpool Philharmonic Orchestra/Vasily Petrenko
the harp that she doesn’t “think [she’ll] ever be of different genres comNaxos 8.572658 (69 min 38 s)
able to do these again with keyboard.” Whether posed by Gluck before
####$$
or not you’ll agree, this disc gives the rare joy of the major operatic rePetrenko and the RLPO
rediscovering pieces in a new context. For that form set in motion by
reason alone it will prove rewarding for Bach Orfeo ed Euridice (1762). It is an opera seria in are working their way
lovers. (See page 36 for an interview with Lara the customary style in which secco recitatives al- through a cycle of the
Shostakovich symphonies
CRYSTAL CHAN ternate with da capo arias, creating repetitions
St. John.)
and dialogues often left unjustified. Metastasio and the results, so far,
has peppered his libretto with romantic rivalry have been impressive.
Shuffle. Play. Listen.
and political jealousy between the emperor But the latest installment
Matt Haimovitz, cello; Christopher O’Riley, piano
Oxingale OX2019 (CD 1: 71 min 56 s, CD 2: 60 min 58 s) Valentiniano and General Aetius (Ezio), the very features two of the composer’s least-played symsame who put Attila and the Huns to rout. His- phonies and the performances are variable. For
#####$
tory tells us that the emperor had Aetius mur- the Symphony No. 6, I much prefer Leonard
Shuffle.Play.Listen. is a
dered, but here the librettist preferred to write a Bernstein’s slower tempi and more nuanced apmix of classical, film, pop,
happier ending. Nonetheless, there is much to proach with the Vienna Philharmonic (DG DVD
rock, and jazz music
admire here, especially Se povero il ruscello, a B0006578-09). And the sound is better too. As
from the last century.
beautifully
orchestrated aria sung by the perfid- for the Symphony No. 12, it depends on what one
Stripped to Matt Haiious Massimo whose daughter Fulvia is loved by thinks of the piece. It is intended to honour the
movitz’s cello and Christhe two most powerful men in Rome. Although Bolshevik Revolution and Lenin. In 1961 when
topher O’Riley on piano,
the finales to the three acts also reach a certain Shostakovich composed the symphony he had
genres blur; Stravinsky
little choice except to do what he was told or risk
rocks and Blonde Redhead recalls Romantic climax, it is not enough to call this opera a com- serious punishment from the authorities. But
lieder. The transcriptions are O’Riley’s, who’s al- plete success. The line-up of soloists does quite Shostakovich nearly always found a way to exready released piano albums of his pop tran- a respectful job, although Sonia Prina’s portrayal press his own doubts and misgivings about the
scriptions, notably of Radiohead (here there are of Ezio is rather weak. Alan Curtis conducts and Soviet system. The Symphony No. 12 is full of
two Radiohead songs). If anything, the common directs both the pit and the stage with praise- brooding and ends with a triumphalism that is
ALEXANDRE LAZARIDÈS
genre is fusion, whether it be composers worthy care.
so chromatic and abrasive, listeners at the preincorporating traditional music—Martinů’s Varimiere must have wondered what they were hearations on a Slovak Folksong, for example—jazzy
ing. Petrenko and the RLPO do a fine job of
prog rockers like John McLaughlin exploring Inbringing out the composer’s conflicted feelings.
dian harmony, or indie-poppers like Arcade Fire
PAUL E. ROBINSON
38
MARCH 2012
sm17-6_EN_p38-39_CDs_sm17-6_FR_pXX 12-03-05 2:40 PM Page 39
R E V I E W S DV D
Rachmaninov: The Bells Op. 35,
Prokofiev: Lieutenant Kije Symphonic Suite
Op. 60/Bernstein: Candide Overture
London Symphony Orchestra/André Previn
ICA Classics DVD ICAD 5038 (62 min 5 s)
###$$$
André Previn has never
been the most charismatic of conductors and
over the years his gestures and podium demeanour have taken on
an increasingly weary
and disinterested character. At the same time,
there has never been
any question about
Previn’s enormous musical gifts as pianist, composer and conductor.
This DVD brings together BBC television
broadcasts from the 1970s when Previn was at
the height of his fame in England as conductor of the London Symphony. The performance of the Bells is taken from a 1973 Proms
appearance with the LSO Chorus in top form
and three of England’s leading vocal soloists:
Sheila Armstrong, Robert Tear and John
Shirley-Quirk. The performance is given in
English—Previn recorded it later in Russian—
and it is excellent. Unfortunately, the camera
work is only rudimentary.
From 1977—just four years later—we have
a much more imaginative presentation of
Prokofiev’s Lieutenant Kije Suite. The BBC
put much more work into making sure cameras were on musicians actually playing imPAUL E. ROBINSON
portant solos.
TRANSLATION: JÉRÔME CÔTÉ
MARCH 2012
1 @ 8:00 p.m. - McGill Baroque Orchestra, Hank Knox, director and Cappella Antica
Valerie Kinslow, director – Monteverdi, Farina, Vivaldi, Tartini, Blavet – (RH) $10
2/3 @ 7:30 p.m. - McGill Symphony Orchestra –
Alexis Hauser, conductor – Stravinsky, Cerha, Sokolovic, Bartók – (PH) $10
8 @ 7:30 p.m. - McGill Staff and Guests Series:
Jan Jarczyk and John Stetch 2 pianos – (PH) $10
9 @ 7:30 p.m. - McGill Staff and Guests Series:
Lisa Lorenzino, Anh Phung, Frank Lozano, Dave Gossage, Jennifer Bell, flutes;
Dave Watts, bass; Josh Rager, piano – a tribute to Billy Taylor – (TSH) 10$
15/16/17 @ 7:30 p.m. and 18 @ 2:00 p.m. - Opera McGill presents
Monteverdi’s L’Incoronazione di Poppea: Patrick Hansen, Director of Opera
Studies; McGill Baroque Orchestra, Hank Knox, conductor - (PH) $20 / $15
26 @ 8:00 p.m. - McGill Jazz Orchestra II: Ron Di Lauro, director – (TSH) $10
28 @ 7:30 - McGill Jazz Orchestra I: Gordon Foote, director – (PCH) $10
28 @ 7:30 p.m. - McGill Staff and Guests Series:
Regina Brandstaetter, violin and Kyoko Hashimoto, piano – (RH) $10
30 @ 7:30 p.m. - McGill Contemporary Music Ensemble:
Cristian Gort, guest conductor – (PCH) $10
Box Office – 514.398.4547 – www. mcgill.ca/music/events
MARCH 2012
39
sm17-6_EN_p40_ADS_sm17-4_FR_pXX 12-03-05 2:40 PM Page 40