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CONTENTS 

DECEMBER 2011 — JANUARY 2012 

8 NOTES » News in brief 

10 DISCOVERY CD 

Antoine Bareil & Sébastien Lépine 

12 Alexandre Da Costa 

13 BEHIND THE SCENES 

J.P. Desrosiers, Personnalité Arts-Affaires 

14 DIY » Muhly, Mazzoli & Crossover Composition 

16 Maryvonne Kendergi: in memoriam 

17 Steve Reich at 75 

18 Yannick Nézet-Séguin 

A Musical Journey 

20 Opera: Il Trovatore 

21 CALENDAR COVER » Lan Tung 

23 REGIONAL CALENDAR 

24 CONCERT PREVIEWS 

28 PULLOUT CALENDAR 

31 MUSICAL DIVERSIONS 

36 Attila Glatz and Salute to Vienna 

37 Concerts Against Cancer 

38 JAZZ SECTION » Frank Lozano 

42 REVIEWS » CDs, DVDs, Books 

46 VARIATIONS ON A THEME 

Berlioz: Symphonie fantastique 

48 CIOC Winner Christopher Lane 

49 Raymond Cloutier » Heading the 

Conservatoire d’art dramatique de Montréal 

50 Arts this Winter 

Theatre, dance, visual arts 

4 

Ana 

SOKOLOVIĆ 

The Société de musique contemporaine 

du Québec is putting the spotlight 

on composer Ana Sokolovi this 

year for the third season of their 

Série Hommage, previously devoted 

to Claude Vivier and Gilles Tremblay. 

PHOTO Alain Lefort ILLUSTRATION Adam Norris 

FOUNDING EDITORS 

Wah Keung Chan, Philip Anson 

La Scena Musicale VOL. 17.4 

DECEMBER 2011 - JANUARY 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 

MANAGING EDITORS 

Laura Bates, Crystal Chan 

CONTENT EDITOR 

Caroline Rodgers 

JAZZ EDITOR 

Marc Chénard 

PROOFREADERS 

Miriam Clouthier, Annie 

Prothin, Jef Wyns 

ART DIRECTOR 

Adam Norris 

GRAPHICS 

Rebecca Anne Clark, Bruno Dubois 

COVER PHOTO 

Alain Lefort 

OFFICE MANAGER 

Julie Berardino 

SUBSCRIPTIONS & DISTRIBUTION 

COORDINATOR 

Conor O’Neil 

TRANSLATION INTERN 

Lynn Travers 

REGIONAL CALENDAR 

Eric Legault, Etienne Michel 

WEBSITE 

Normand Vandray, Michael Vincent, 

Yong Yan Wu 

BOOKKEEPERS 

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Mourad Ben Achour 

ADVERTISING 

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Julie Beaulieu, Milan Bernard, 

René Bricault, Hélène Boucher, Frédéric 

Cardin, Éric Champagne, Mark 

Chodan, Marie-Astrid Colin, James 

Gartler, Tao Fei, Marie Labrecque, 

Annie Landreville, Alexandre Lazaridès, 

Philippe Michaud, Roxana 

Pasca, Hannah Rahimi, Lucie Renaud, 

Paul E. Robinson, Joseph K. So, 

Jacqueline Vanasse 

TRANSLATORS 

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VOLUNTEERS 

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Ver: 2011-11-29 

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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 

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ISSN 1927-3878 Print English version 

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ISSN 1927-3886 Online English version 

Canada Post Publication Mail Sales Agreement 

No.40025257 

2 

DECEMBER 2011 / JANUARY 2012

editorial 

38 10 

14 20 

by the NUMBERS 

5 

The 

number of CDs released in the last few 

months featuring the playing of jazz saxophonist 

Frank Lozano. Lozano is our jazz cover story. 

Lozano is our jazz cover story. Read it on page 38. 

50 

There are over 50 variations of related folk 

instruments to the erhu from China. 

Read our profile of Lan Tung, one of Canada’s premier erhu players, 

on page 21. 

120 

30.5 

The number of performances that violinist 

Antoine Bareil and cellist Sébastien Lépine 

performed in their famous 2008 Soaring 

Strings tour in Quebec-and Italy. 

Bareil and Lépine are this month’s Discovery CD artists. Find out 

more about them on page 10. 

The average age of Missy Mazzoli and 

Nico Muhly. These two composers 

are rising stars identified with the 

‘indie classical’ movement, which 

features the genre-crossing music of 

young musicians. 

Read more about Mazzoli, Muhly, and indie classical music on page 14. 

29 

Learn about Verdi’s Il Trovatore on page 20. 

The number of operas composed by Verdi, 

the most frequently performed opera composer 

today. 

in mid-November, the El Sistema social arts education 

movement touched down in Quebec with an 

all-day conference at McGill University organized 

by the Quebec Music Educators Association. It was 

the culmination of three years of behind-thescenes 

work by Venezuelan-Canadian Avelino Rubilar, 

founder of El Sistema Quebec. 

Dr. Jonathan Govias (who penned a 10-part series on the 

subject for LSM last year) showed how the three-hours-a-day, 

six-days-a-week Venezuelan after-school program raised musical 

culture, improved group practicing, and most importantly 

kept kids off the street. In 37 years, it has grown from one 

group to 300,000 kids, and has branches around the world. 

University of Western Ontario’s Dr. Ruth Wright explored how 

the socialist program could be successfully adapted in Canada, 

voicing some words of caution. 

It was motivating to see how music and the arts can make a 

fundamental change in a society. What struck me was the principle: 

shared experiences change lives. That very idea is in fact 

the motivation behind our Bring a Teen program, which helps 

youth discover culture. 

Why teens? First, the teenage years (12 to 18) are the most 

impressionable. Secondly, when we started the program, I 

found it strange that although there were lots of elementary 

school programs exposing children to the arts, arts groups 

were struggling to attract young adults. Teens were left out. 

Ten years later, that is still true. 

Our big idea is to expose teens to music and culture, and to 

turn adults, who constitute 95% of concert-going audiences, 

into mentors by sharing their passion. Parents, grandparents, 

siblings and teachers all have a role to play. 

In re-launching Bring a Teen at its 10 th anniversary, we plan 

a push-pull approach. Thanks to the FAMEQ (Fédération des 

associations de musiciens éducateurs du Québec) and posters 

printed by Payette & Simms, the program will be introduced to 

72,000 Quebec music students through their music teachers. 

Our media partners include The Senior Times, The Montrealer, 

Radio Ville-Marie and Mountain Lake PBS. Furthermore, 

we will tap into the power of social media through our 

Facebook page: www.facebook.com/ado-teen 

In La Scena Musicale, each BAT concert will be highlighted 

in a regular ad, plus spotlighted with the BAT logo in the regional 

calendar. All concerts are also listed in the BAT webpage 

http://teen-ado.scena.org, where we also plan to include links 

to program notes. Beginning in February, LSM will introduce 

a new parents’ column with advice on how to prepare teens for 

concerts. 

So far, over 30 arts groups have signed on to offer over a 

thousand free tickets. To participate, call the BAT phone number 

for each event. An adult purchases the first ticket to get the 

second ticket free for the teen. Join the movement: share your 

passion, like the Facebook page, and blog your experience. 

Bring a Teen! 

WAH KEUNG CHAN, 

Founding Editor 

NEXT ISSUE » FEBRUARY 2012 

THEME: STRING MANIA 

ADVERTISING DEADLINE: 2012-1-23 

ON THE COVER: Antoine Tamestit 

PLUS: The Hagen Quartet, Ray Chen, Nikolaj Znaider, Mélisande McNabney 

DECEMBER 2011 / JANUARY 2012 3

y CAROLINE RODGERS 

PHOTOS OF ANA SOKOLOVIĆ Alain Lefort 

4 


ON THE COVER 

the Société de musique contemporaine 

du Québec is 

putting the spotlight on composer 

Ana Sokolović this 

year for the third season of 

their Série Hommage, previously devoted to 

Claude Vivier and Gilles Tremblay. 

Born in Belgrade in 1968, the composer 

grew up in a creatively and culturally rich 

environment that gave her the opportunity, 

while still very young, to learn ballet, take 

piano lessons and act. She has been composing 

music for the theatre since her teen 

years. 

After studying composition at the University 

of Novi Sad and at the University of 

Belgrade, she taught for a few years before 

deciding to emigrate to Canada in 1992. She 

completed a Master’s Degree in composition 

at the Université de Montréal with José 

Evangelista and married Jean Lesage, a fellow 

composer. 

For this neo-Quebecoise, Montreal is an 

ideal environment for new music to flourish. 

“Here, we are very closely linked to Europe, 

but there is a liberty in North America that 

Europeans do not have. The burden of tradition 

and judgment weighs little here; there 

is an extraordinary open-mindedness that 

doesn’t exist anywhere else in the West. I am 

extremely happy to be able to work here.” 

Ana Sokolović’s work is rich and diverse; 

opera, chamber music, theatre and dance 

music, and pieces for solo instruments have 

all crossed her creative path. Many prestigious 

ensembles and soloists, for example 

the MSO and the Ensemble contemporain 

de Montréal, have commissioned pieces 

from her and performed her works. 

The public will discover Sokolović’s colourful and original 

music, infused with the cultural baggage of her native country, 

thanks to more than 80 concerts and activities across the country 

that are part of the Série Hommage. 

Opera, the universal language 

Ana Sokolović has already written three operas, all of which 

were premiered in Toronto by the Queen of Puddings Music 

Theatre company. 

For her most recent opera, Svadba, which means “marriage” 

in Serbian, she drew on the model of Stravinsky’s Noces, which 

tells the story of a peasant marriage in Russia. In this work for 

six female voices, Sokolović concentrates on the moments that 

come before the marriage, on what we call a bridal shower in 

North America. Her primary source: songs and texts related to 

this ritual at different times in the history of her native Serbia. 

“It was very difficult to find texts, but I did succeed in finding, 

for example, a song used while 

the hair of the bride was coloured. 

I wrote the libretto myself, drawing 

on my research. I learned 

that the ritual of preparation for 

Ana Sokolović 

A Chronology 

1968: Birth in Belgrade 

1979: Actress at the National 

Yugoslav Theatre 

1980-1981: Television program 

presenter 

1986-1990: Studies in music at 

the University of Novi Sad 

1992: Move to Montreal 

1993-1995: Master’s Degree in 

composition at the Université 

de Montréal 

1995-1996: First professional 

concerts in Montreal 

1996 à 2011: Composition and 

premieres of around forty works 

in Toronto, Montreal, Winnipeg, 

London, Halifax, and Banff 

marriage lasted seven days, so there are seven scenes in my 

opera. They include everything that can happen when you’re 

very nervous during the preparation for an important event: 

funny moments, touching ones, confrontation.” 

The work was premiered last summer in Toronto. Sung a 

cappella in Serbian, with English surtitles, it was described as 

a tour de force by critics and was very well received in general. 

“Even if it’s in Serbian, the theme is very universal,” says the 

composer. “There are surtitles, of course. Nevertheless, what 

matters most is not whether one understands all the words but 

whether one understands emotionally what is going on. I incorporate 

made-up language and onomatopoeia into the piece. 

I play extensively on the rhythms of the language; its colour and 


ON THE COVER 

SVADBA 

PHOTOS John Lauener 

“There is a liberty in 

North America that Europeans 

do not have. The burden of 

tradition and judgment weighs 

little here; there is an extraor - 

dinary open-mindedness that 

doesn’t exist anywhere else in the 

West. I am extremely happy to be 

able to work here.” 

pronunciation inspire my composition of the 

music.” 

When choosing the main theme of an opera, 

universality is essential in her eyes. “What interests 

me are the human archetypes presented, the ones 

that can be transposed to any age and to any nation. A 

young girl getting married, whether she is in India or Quebec, 

is embarking on a new chapter of her life. The emotional 

aspect I want to explore is present everywhere.” 

Her two other operas, The Midnight Court and Love 

Songs, deal respectively with celibacy and love. “The Midnight 

Court deals with celibacy problems in 19 th -century 

Ireland, and it is based on texts from 1870,” she explains. 

“But everyone can see themselves in the characters, because 

the themes are human, universal and very contemporary.” 

Despite their success, Ana Sokolović would have very 

much liked to offer her operas to a Montreal audience! 

“Very few operas are premiered here in comparison with 

Toronto,” she says. “ Young composers want to write, young 

singers want to try new things, and young audiences are 

hungry for them, but there aren’t many institutions that 

offer new operas.” 

Today’s music, today’s culture 

Unfortunately, the words “contemporary music” often drive 

the public away—a situation this composer wants to do all 

she can to change! 

“I’d like to demystify this word that scares 

people and that is linked, in their minds, to 

something unpleasant. They’re wrong, because 

contemporary music, the music being 

written nowadays, is very different from 

what was being written forty or fifty years 

ago. During the years following the war, in 

the avant-garde, there was a desire to discover 

music in a new way by deconstructing 

the form and the parameters that had 

been in place for centuries. This period was 

necessary for the evolution of music; the 

phenomenon took place in all the arts. But 

today, new music takes on so many forms 

and follows so many paths that even specialists 

have difficulty finding their way 

around.” 

Among the almost infinite choice of 

styles and influences, curious listeners can 

certainly find something to their liking, on 

6 


ANA SOKOLOVIĆ 

the condition that they try it! Still, if you ask the ordinary person 

on the street, it is very difficult to find someone who can 

name a single Quebecois composer. 

“If people are unable to name Quebec composers, they will 

most likely also be unable to name painters or poets. The problem 

is not solely linked to music,” she adds. 

On this note, according to Sokolović, the education system 

should play a more active role in discovery of the arts and development 

of general knowledge. The state should also support 

the arts and culture and do its part to make music accessible. 

But everyone must do his or her part. 

“It is also up to us, the composers, to go out and get the audience. 

Culture stimulates the imagination. And we must not forget 

that the world will always be more interesting if we exercise 

our creativity in every area, whether it is the arts, sciences or 

politics. Without imagination, the world cannot go forward.” 

HONOURS 

1999: First Prize of the CBC Young Composers Competition and Grand 

Prize in all categories for Géométrie sentimentale 

2005: Joseph S. Stauffer Prize from the du Canada Council for the Arts 

2007: Prix Opus : composer of the year 

2009: Canada’s National Arts Centre Prize 

FREE CONCERTS 

The National Arts Centre Orchestra 

celebrates the life and music of Quebec 

composer and educator Jacques Hétu. 

JACQUES 

HÉTU 

CELEBRATION 

February 8 

NAC Southam Hall – 8 p.m. 

Pinchas Zukerman, conductor 

Alain Trudel, trombone 

Nathalie Paulin, soprano 

February 9 

National Gallery of Canada – 8 p.m. 

 

Joanna G’froerer, flute 

Emily Marks, flute 

Joel Quarrington, double bass 

 

Performances of Ana Sokolović’s pieces in December and January: 

» Université de Montréal Orchestra, December 3, 7:30 p.m., 

salle Claude-Champagne 

» Ensemble musique avenir, Conservatoire de musique de Montréal, 

December 7, 7:30 p.m. 

» Voice and saxophone concert, Tanna Schulich hall, January 13, 8:00 p.m. 

» Molinari Quartet, Conservatoire de musique de Montréal, 

January 26, 8:00 p.m. 

For a complete list of the events of the Série Hommage, visit the SMCQ’s 

website at www.smcq.qc.ca 

TRANSLATION: ARIADNE LIH 

nac-cna.ca 

Free tickets are available in 

 


N 

TES 

by CRYSTAL CHAN, REBECCA ANNE CLARK, 

LORENA JIMÉNEZ ALONSO, PHILIPPE MICHAUD 

Universal and Sony 

Divide Up EMI 

EMI, Britain’s only major music label, was dismantled 

this November in a buyout that saw 

its recorded music division sold to Universal 

Music for $1.9 billion. Meanwhile, a group of 

investors led by Sony obtained EMI’s music 

publishing catalogue for $2.2 billion. Now that 

Universal, already an industry heavyweight, 

controls names like Radiohead, the Beatles, 

and Katy Perry, the company will likely have 

to dump some of its assets to satisfy antitrust 

regulations. Independent labels are concerned 

about the possible negative repercussions of 

the acquisition and how Universal’s increased 

market influence will affect them. RC 

NÉZET-SÉGUIN AWARDED 

THE PRIX DENISE-PELLETIER 

The Prix Denise-Pelletier was recently 

presented by Minister Sam Hamad to 

Yannick Nézet-Seguin, principal conductor 

and artistic director of the Metro - 

politan Orchestra. This award is the most 

important conferred by the government 

of Quebec on a performing artist. This 

prestigious prize has been awarded in 

the past to outstanding artists including 

Felix Leclerc (1977), Gilles Vigneault 

(1983), Joseph Rouleau (1990) and 

Robert Lepage (2003). 

PM/LT 

PHOTO Marco Borggreve 

ALICE-HERZ-SOMMER 

& RAPHAEL SOMMER 

Menuhin Competition Inundated 

with Entries 

The Yehudi Menuhin International Competition 

for Young Violinists has received a record 

number of entries for 2012. Just 42 candidates 

will be selected from a pool of over 230 applicants. 

Founded in England in 1983, the 

Menuhin Competition has especially gained 

popularity in the US, Canada, Australia, and 

China following the success of previous winners 

such as Ray Chen, Chad Hoopes, and 

Kerson Leong. This year’s event (April 6 to 15, 

2012) will be held in Beijing and will feature 

master classes and performances by the 

celebrity jury. 

RC 

New Ideas in Opera: 

iPhones and Wikileaks 

The Royal Opera House will enter the world 

of gaming with the launch of an iPhone and 

iPad game. During a time of many funding 

cuts, they hope this will generate extra income 

and widen audiences. “The Show 

Must Go On” game offers players the opportunity 

to stage manage their own 

opera or ballet. Meanwhile, Opera Australia 

has started to work on an opera 

composed by Jonathan Dreyfus and 

based on Wikileaks and the life of its 

founder, Julian Assange. Eddie Perfect, 

who played Assange in initial 

workshops, told the Australian Broadcasting 

Company: “It’s got everything 

that a dramatic musical work needs. It’s 

got heroes and villains. In fact, it’s got 

a hero and villain combined in one.” 

LJA 

Czech Pianist and Oldest 

Holocaust Survivor Turns 108 

Alice Herz-Sommer, a pianist and music 

teacher, turned 108 on November 26, 2011. 

This makes her the oldest known Holocaust 

survivor. She was interned at the Theresienstadt 

concentration camp, which is known for 

having been the forced home of several artists 

and musicians. She survives her son, Raphael 

Sommer, who became a respected cellist and 

composer. A video collection of some of her 

interviews is viewable at www.webofstories.com/ 

play/17993?o=L She discusses, among other 

things, the concerts she was forced to perform 

at the camp. 

CC 

8 


NEWS IN BRIEF 

MARIE CHOUINARD 

PHOTO JF Gratton 

to listen to it,’’ said Inge. The ongoing 9 Beet 

Stretch stream is available online in cooperation 

with the Amsterdam-based multimedia 

collective Park4DTV and their Raudio webcast 

radio. 

LJA 

DANCE 

Marie Chouinard 

launches award 

In celebration of the 20 th anniversary of 

the Compagnie Marie Chouinard, the 

popular choreographer has announced 

the Prix de la danse de Montréal. Held 

annually, this award will recognize the 

talent of Montreal’s dance community. 

At the first awards ceremony, the winner 

will receive $5,000 from the Compagnie 

Marie Chouinard. Several artists 

from major organizations, such as l’École 

supérieure de ballet du Québec, will 

participate in this program. PM / LT 

Contemporary dance 

mourns LADDMMI founder 

Candace Loubert 

Candace Loubert, co-founder of the 

École de danse contemporaine, has died 

at the age of 64. In 1981, along with Linda 

Rabin, she founded the Linda Rabin 

Danse Moderne school, which in 1984 

was renamed Les Ateliers de danse moderne 

de Montréal (LADMMI). According to 

Yves Rocray, the school’s managing director, 

this visionary artist and teacher had an important 

influence on the field of dance. Before 

creating LADMMI, Loubert danced on Europe’s 

most renowned stages. She later joined 

Les Grands Ballets Canadiens. PM / LT 

CINEMA 

In memory of Gilles Carle 

Montreal’s mayor, Gerald Tremblay, has announced 

the creation of Place Gilles-Carle, 

which will be close to Square Saint-Louis. 

Helen Fotopulos, the city executive responsible 

for heritage projects, said that the city 

made this symbolic gesture in order to honor 

the great artist who not only left his mark on 

Quebec and Canadian cinema, but also on the 

collective memory. He was a long-time resident 

of the Square Saint-Louis area. Carle 

passed away in 2009. 

PM / LT 

VISUAL ARTS 

2011 Paul-Émile Borduas 

Award honours 

Gilles Mihalcean 

Gilles Mihalcean is the 2011 recipient of the 

Paul-Émile Borduas Award, which is granted by 

the Centre international d’art contemporain de 

Montréal. Mihalcean‘s sculptures have been displayed 

in several art galleries in Montreal, as 

well as at the Musée d’art contemporain de 

Montréal and the CIAC. In addition to being a 

celebrated sculptor for over 40 years, Mihalcean 

is also an advocate for artists. 

PM / LK 

PHOTO Normand Rajotte 

TRANSLATION: LUKE KUMAR, LYNN TRAVERS 

LSM 

Beethoven’s 9 th Symphony 

stretched to 24 hours 

9 Beet Stretch—Beethoven’s 9 th symphony 

stretched to 24 hours without pitch distortion— 

was produced for the Manifesta 4 (Frankfurt 

2002) by Norwegian conceptual artist Leif Inge 

and has been installed in a wide range of spaces, 

from bedrooms to huge industrial halls like the 

Kupfer Ironworks to churches such as the 11 th - 

century Bergen Cathedral. The slow playback is 

intended to ease listeners into a trance. “This 

trance feeling, letting the sound just go on without 

trying to expect anything, is really the way 

“Voilà, my one-year subscription 

to La Scena 

Musicale. I am now retired 

and want to stay up 

to-date with the musical 

scene and keep abreast of 

what my friends and 

former students are 

doing! Long live music!” 

—SONIA JELINKOVA 

Professor of violin at the 

McGill Conservatory of Music and 

member of the MSO for 25 years 

TRANSLATION: LYNN TRAVERS 

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discovery cd 

Transposing Tradition 

by HÉLÈNE BOUCHER 

november 2 nd saw the release of the second album 

by Trois-Rivières duo Antoine Bareil, violin, and 

Sébastien Lépine, cello. In Works for violin and 

cello based on old folk melodies, available in 

January 2012 on the XXI-21 label, the virtuosic duo 

take up the melodies that inspired the likes of Bartók, Dvořák, Smetana, 

and Stravinsky to introduce popular culture into classical music. 

Bareil and Lépine, crazy virtuosi 

The most recognizable thing about the Bareil-Lépine duo is 

the obvious pleasure they take in playing on stage. Their famous 

‘Soaring Strings’ concert impressed audiences in Quebec 

and Italy in 2008. Perfectly in sync, yet still fresh and 

impulsive, they thrilled 120 different audiences, both amateur 

and seasoned. Their first album, Works for violin & 

cello, was critically acclaimed, winning them the Prix Opus 

for disc of the year. 

The two performers established their duo in 2006, brought together 

by a common outlook on music and performance, and by a desire 

to stray from the beaten path. “It’s important for us to find and 

adapt a repertoire that will take the public where it wouldn’t otherwise 

go,” Antoine Bareil says. This public keeps coming back for more of 

Bareil and Lépine’s brand of fun, as well as the accompanying musical 

education. The non-conformist spirit of these “crazy strings” is 

also seen in their direct contact with the audience. 

A tribute to the 20 th century 

The rapport between the violin-cello duo is also tied to their mutual 

affection for 20 th century repertoire. This is an affection born of necessity, 

relates Bareil: “We had to find compositions which featured 

violin and cello equally. That took us away from Beethoven and 

Mozart. The 20 th century furnished the sound we were looking for.” 

Ravel’s Sonata for Violin and Cello, written in 1920 and dedicated to 

Debussy, was the duo’s first project. 

Back to the people’s folk music 

The idea for the second album took shape during Bareil and Lépine’s 

latest Canadian tour. “Our concert, Soaring Strings, made us realize that 

the public has a real feeling for folk melodies. Those songs clearly draw 

on a deep, collective sense of belonging,” Bareil explains. This path of 

exploration led the way toward new compositions. Their research was 

successful, opening up varied musical horizons. At the head of the album 

is Béla Bartók’s Hungarian Folk Melodies for Violin and Cello. Bartók’s 

undertaking from 1905 to 1908 greatly inspired the duo in their own research. 

“Bartók travelled throughout Hungary to collect his country’s 

songs and melodies from the peasants. Oral tradition played a major 

role in his compositions,” the duo explains. The album circles around 

the works of Belgian Joseph Jongen (1873-1953), Norwegian Johan 

Halvorsen (1864-1935), German Helmut Lipsky, and American Mark 

O’Connor. 

A musical journey through the folk music of other 

times and places, Works for violin and cello based on old 

folk melodies is a harmonious whole, as Antoine Bareil 

attests: “Touches of the American and Irish musical heritage 

can be heard, as well as influences from the waves 

of immigrants of the 20 th century.” Transposing traditional 

music from another century does not seem to pose 

much of a challenge for the duo. Through their style of 

playing and their approach to repertoire, the pair sees an easy way to 

connect with music lovers of all ages. Music will always be “that wonderful 

escape, that last refuge to stop everything, think things over, 

and dream,” stated the violinist-composer. The album includes one of 

his pieces, composed in 2009, Variations sur “Mon merle.” 

Soaring Strings, which won the Louis-Philippe-Poisson Performing 

Arts award, will continue into 2012. The crazy virtuosi will then prepare 

themselves to tour their new album across Canada and eventually 

Europe, bringing along their joyous and impulsive stage presence. 

The pair have a few visual surprises up their sleeve, but nothing that 

will compromise their treasured contact with their audience. The musicians 

are looking forward to showing their skill on some extraordinary 

instruments: an 1800 Vuillaume violin and a Stradivarius cello 

from 1699. Is there a second Prix Opus (oh, how they wish!) in the 

duo’s future? As long as music brings them joy, the duo will happily 

continue. 

For the December/January Discovery CD, La Scena Musicale and XXI-21 Productions 

present Antoine Bareil and Sébastien Lépine playing works for violin and 

cello duo. The Discovery CD is available free to our subscribers, or you can 

contact us directly for individual purchase. 

TRANSLATION: KARINE POZNANSKI 

LSM 

PHOTO Duchesne Côté 

10 


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PORTRAIT 

ALEXANDRE DA COSTA 

A passion for recordings 

by CAROLINE RODGERS 

at only 31 years old, violinist 

Alexandre Da Costa has already 

recorded his sixteenth CD. This 

fall, he released Fire and Blood, his 

first recording with the MSO and 

his first collaboration with Warner Classics. It also 

marked the occasion of the Quebec launch of the 

new record label Acacia, a cooperative formed by 

Da Costa and other musicians. 

The violinist freely admits that Fire and Blood 

has become one of his favourite recordings, which 

he hopes will be heard by a large 

audience. When he discovered 

this concerto, he quickly 

phoned the composer. Michael 

Daugherty, to tell him he 

wanted to record it. Since then, 

whenever a conductor has contacted 

him to play with an 

orchestra, Da Costa has tried to 

get Fire and Blood on the program. 

“I wanted this concerto to be 

the first that I recorded with 

Warner,” he said. “It’s written 

in a modern style but is easily 

approachable. It’s tonal, understandable, 

and incorporates 

elements of Mexican and folk 

music. It falls somewhere 

PHOTO Bo Huang 

In composing Fire and Blood, 

Michael Daugherty was inspired by the 

Detroit Industry murals of Mexican 

painter Diego Rivera, which represent 

the auto industry in Detroit in the thirties. 

“They inspired me to create 

my own musical fresco for violin 

and orchestra,” he comments 

in the CD liner notes. 

On a musical level, he 

worked with violinists from 

different musical universes 

for inspiration, he 

explained to LSM in a 

phone interview. 

“I listened to classical, 

between film and contemporary music and is a good introduction to 

modern music for neophytes. In my opinion, this is a good direction 

to explore for contemporary music. In concert, it’s very successful. 

People go home with the same enthusiasm as if they had heard a work 

they’ve known for a long time, like Tchaikovsky’s concerto.” 

Alexandre Da Costa feels at home in the world of recordings. “I’ve 

been lucky to have people around me who deeply love recorded music 

and who have communicated their passion to me, for example 

Johanne Goyette of ATMA,” he explains. 

For him, CD recordings are an essential element in a musician’s 

career. “They serve as markers over the long term,” he said. “Concerts 

are the most important, but a concert is ephemeral, whereas a disc lasts 

your whole life. A recording shows the point you had reached as a musician 

at a particular time. When I listen to my first recording of the 

Tchaikovsky concerto from when I was 17, I could swear that it’s not 

me at all! I will definitely record it again sometime, having reached a 

stage where I’ve evolved enough musically to revisit works I’ve already 

recorded.” 

Motivated by his passion for recordings, and wanting to ensure the 

success of his beloved Fire and Blood in Quebec, Da Costa was spurred 

to launch the new Acacia record label. Pianist Wonny Song and conductor 

Jean-François Rivest, among others, have joined him in this 

venture. 

“Our intention is to produce only four or five discs per year, but these 

will be high quality, hand-picked projects,” he 

says. 

Worldwide, Fire and Blood is on the Warner 

Classics label, with which the violinist has signed 

a two-year contract. 

“It was they who allowed this project to see the 

light of day,” he says. “But I convinced them that 

for Quebec, it was preferable to have a local label. 

For Warner, Quebec is a very small market, and 

for that reason they wouldn’t necessarily have 

invested a lot of effort in promoting the disc. 

Whereas we have, in Quebec, specialized labels 

like ATMA and Analekta doing excellent work. 

Furthermore, most of the classical discs sold in 

PHOTO Yopie Prins 

MICHAEL DAUGHERTY DISCUSSES HIS WORK 

jazz, bluegrass and mariachi violinists 

in order to explore all the parameters 

of the instrument. I used musical ornamentation 

evoking Mexican music. I 

see my work as a composer a bit like 

that of a film director. If you directed 

a film on the life of Diego 

Rivera and Frida Kahlo, you 

would choose costumes 

that are typical of their 

country and their time. 

This was my guiding principle. 

I think that this is 

the kind of work one must 

do to write a concerto 

that stands out.” 

Canada are sold in Quebec. If we do the promotion 

ourselves, we do a better job, even more so 

because for distribution we 

have the Universal machine 

behind us.” 

He even insisted that the disc 

be recorded here, in Montreal, 

with the MSO. The recording 

took place in concert in 

November 2009, under the 

direction of Spanish conductor 

Pedro Halffter. The CD features 

two other works by Michael 

Daugherty: Fla mingo, for 

orchestra, and Ladder to the 

moon, a concerto for solo violin, 

wind octet, double bass and percussion. 

LSM 

TRANSLATION: 

RONA NADLER 

12 


BEHIND THE SCENES 

Jean-Pierre 

DESROSIERS 

Personnalité Arts-Affaires 


in May, Jean-Pierre Desrosiers, Certified Accountant with 

Fasken Martineau, was awarded the Prix Personnalité Arts- 

Affaires 2010 [Montreal Arts/Business Award, personality 

category] for his longstanding commitment to the arts. 

That Desrosiers’ candidacy was supported by a long list of artistic 

organizations speaks volumes about his contribution to our cultural 

milieu. He was sponsored by Angèle Dubeau et La Pietà, as well as by 

Les Productions Laure-Furey. The 

Théâtre du Rideau Vert, Mea Culpa 

Théâtre and the Cirque Éloize also 

supported Desrosiers’ candidacy. 

Desrosiers is vice-president of Angèle 

Dubeau et La Pietà’s Board of Directors. 

As a fan of a variety of musical genres, he 

certainly attends symphonic concerts and 

opera, and enjoys Beethoven, Mozart and 

other composers. 

According to Desrosiers, being an avid arts fan is not necessary in 

order to be committed to supporting artists. For him, the most important 

source of motivation is connecting with people. 

“Of course, I love the arts,” he said. “I own a collection of paintings 

and sculptures, and I enjoy going to concerts. But what I really like is 

meeting people, getting to know new people. When I see talented 

artists, I just want to help them.” 

This is why he brings his abilities, expertise, business know-how and extensive 

network of contacts to benefit the organizations he wishes to help. 

“Linking his innate business sense to the artistic domain is a blessing 

in difficult economic times. He has a gift for facilitating connections with 

the business community and starting up profitable partnerships. Thanks 

to people like him, artists and artisans can develop in a cultural industry 

that requires a happy marriage between the arts and business. When 

he believes in the talent of a young artist, or in an organization, he commits 

himself passionately to helping them,” noted the Conseil des arts 

de Montréal [Montreal Arts Council] and the Chambre de commerce du 

Montréal métropolitain, the organizations that had awarded the Prix 

Arts-Affaires to Desrosiers. 

“Non-profit organizations like La Pietà need people like me for their 

financial support,” said Jean-Pierre Desrosiers. “I like helping them 

with their benefit evenings and their fundraising campaigns. Artists 

are very different from me, and I get a lot from working with them. Musicians, 

for example, bring a sense of calm, of peace and a way of relaxing, 

forgetting about problems of everyday life. I have no artistic 

talent, I can’t sing or play an instrument. However, I’m very good at 

fundraising!” 

Even though he enjoys classical music, his favourite repertoire is still 

a selection of the great French-language singers. 

“I’m still hooked on French songs: Brel, Ferré, Brassens, Françoise 

Hardy and our own Vigneault, Claude Léveillé. It’s what I like best. I 

like the meaning of the words. With Ferré, it’s about rebelling, 

Brassens, it’s love, Brel, it’s great love for his country. I appreciate the 

passion they put into their music.” 

LSM 

Artists are very 

different from me, 

and I get a lot from 

working with them. 

TRANSLATION: KARINE POZNANSKI 

NEW BOURGIE HALL 

The Montreal Museum of Fine Arts 

SUNDAY, DECEMBER 18 \ 3 p.m. 

“Musical Family Sundays” 

A Christmas Carol, 

adapted from Dickens 

DECEMBER 28-29 \ 2 p.m. 

Music and Dance in New France 

Les Idées heureuses 

THURSDAY, JANUARY 12 \ 6 p.m. 

Magillah Ensemble 

Klezmer music 

WEDNESDAY, JANUARY 18 \ 7.30 p.m. 

Les Violons du Roy 

Maurice Steger Encore Performance 

THURSDAY, JANUARY 19 \ 2 p.m. 

“Espresso Concerts” 


Maurice Steger Encore Performance 

FRIDAY, JANUARY 20 \ 6.30 p.m. 

Mathieu Gaudet 

The Fugue from Bach to Feininger 

2011-2012 Season 

bourgiehall.ca . 514-285-2000, option 4 

1339 Sherbrooke Street West 

Présented by 

DECEMBER 2011 / JANUARY 2012 13 

PHOTO Denis Gendron 

Photo: Paul Boisvert

MUSICULTURE 

to 

create music 

for a fake religion,” 

says 

“iwanted 

Missy Mazzoli, 

describing a composition-inprogress. 

“My neighbour here in 

Brooklyn built his own house out of 

bottles, glass, and concrete. A homemade 

cathedral. There was something really 

spontaneous, joyful, exuberant, and 

obsessive about this art. That got me thinking 

about what the musical equivalent would be, about 

how religion still dominates a lot of music and has for 

2,000 years or more. I love ecstatic religious music but felt alienated 

because I wasn’t raised religious. I wanted to be a part of that in some 

weird little way.” The piece will be based on Bach chorales but she’s 

“transformed it into something that is weird and new.” 

Mazzoli is an ‘indie classical’ composer (a term she uses). The term 

has floated around for a few years; ‘crossover’ has for even longer. It 

has associated artists and record labels (New Amsterdam, Cantaloupe, 

Bedroom Community, even one launched by Sergei Prokofiev’s grandson 

named Non Classical). Its definition and usefulness is debatable, 

but the term attempts to classify an increasing number of ‘genre-confused’ 

artists like Mazzoli. Like her home cathedral inspired piece, 

most of her music is a bride’s mix of something old, something new. 

Conservatory-trained at Boston University and Yale, Mazzoli also studied 

with Louis Andriessen in Amsterdam and her work has played at 

Carnegie Hall. But it has at pop venues, as well. And she has a band, 

Victoire—albeit one which plays from scores and features strings and 

woodwinds instead of a singer. 

Nico Muhly is another indie classical composer based in New York. 

A Juilliard graduate with ties to Philip Glass, he’s frequently in the 

spotlight, most recently for the premieres of two operas in 2011. Between 

classical music commissions (among others, he has written for 

Chris Lane: read a profile of the organist on page 48), he writes for 

pop musicians (including Björk, Grizzly Bear, Sigur Rós’s Jónsi) and 

soundtracks. Muhly, like Mazzoli, mixes classic forms with new ideas; 

one of his operas, Two Boys, centres on internet chat rooms. Or take 

Keep in Touch, a viola chaconne interwoven with a tape part recorded 

by pop musician Antony Hegarty. Mazzoli’s Dissolve, O My Heart for 

solo violin is also inspired by the chaconne, specifically Bach’s D- 

minor; it opens with the same iconic triad. 

These two pieces and others are receiving their Canadian premieres 

at a Warhol Dervish concert, which will also see the Canadian premiere 

GJ. 

DIY 

Muhly, Mazzoli & 

u# % 

of a Kronos Quartet commission 

by Ottawan Richard Reed Parry, 

an Arcade Fire and Bell Orchestre 

member. Although not 

formally trained, Parry’s instrumental 

compositions have gained 

ground. In fall 2011, the Kitchener 

Waterloo Symphony released a disc 

featuring Muhly and Parry. Mazzoli, 

Muhly, and Parry—and a constellation 

of fellow composers dubbed ‘indie classical’—are 

all young (Mazzoli’s 31; Muhly, 

30; Parry, 34), social media and pop culture 

savvy, and curious about bending genres. 

The problem with considering indie classical as a 

musical genre is that, unlike others, its music doesn’t have 

a shared sound. That’s what you get when plurality of inspiration is 

the point. “It’s more of a social movement than a musical one,” Mazzoli 

explains. Waters get even murkier when you consider the distinction 

between pop music written by composers and instrumental music 

written by pop artists. Or, composers who are in pop bands but whose 

works in the two genres are not interdependent. This identification 

crisis—a crisis mainly for critics rather than musicians—questions the 

role of the composer above other musicians: a band’s songwriters and 

performers are fused in pop but divided in classical, so as borders blur, 

composers are the first to re-navigate their place. Labels such as indie 

classical are created to define the shifts. But what, really, is so new 

about what’s happening here that it necessitates new labels? Mixing 

old and new has been seen before, as have composers who veer towards 

and away from populism. Is indie classical just as oxymoronic 

and vague a name for a musical genre as contemporary classical? 

Crossover 

Composition 

by CRYSTAL CHAN 

Musical Aliens 

Twentieth-century instrumental music is often described as alienating. 

Stravinsky sounds alien, serialism sounds even more alien, and 

audiences get scared away. But musicians feel alienated, too, especially 

from the academic establishment. Mazzoli argues in an NPR blog editorial 

that academia is a gated community whose snubbing of pop-influenced 

music dissuades, among other things, ethnic and musical 

diversity. Sources of funding also hold composers at arm’s length. 

There is less and less financial support from institutions to go around. 

Although this all happens more slowly and more invisibly in Canada 

than in New York, parallels are growing. 

These two, Ouroboros-like factors—the lack of support from financial 

backers and the established arts community—seem to have 

sparked the movement. Musicians who are increasingly unable or un- 

14 


INDIE CLASSICAL 

willing to rely on shrinking grants, foundations, 

and donors take cues from pop’s 

cultivation of public support. They develop 

more band-like schemes (of course, 

the difference between smartening up and 

selling out is hotly contested). Mazzoli describes 

such an unconventional moneyraiser: 

“I’ve been hosting a lot of 

fundraising parties. I’ve learned that what 

people want more than anything is access 

to you and the art in a meaningful way. I’ll 

perform a section of a work a month before 

the premiere and use this as a way to 

talk about the work so that people that 

want to contribute to the project feel that 

they have a special ‘in’ on it. It breaks 

down a lot of barriers, very quickly.” And, 

forced to get creative about saving money, 

musicians ask friends for in-turn and lowpay 

contributions of talent on their projects 

instead of hiring externally. 

The perceived disinterest from academia 

also encourages musicians to look beyond 

their music school mentors and 

colleagues to find a new community. 

Sometimes they look outside classical 

music, or even music, sniffing out shared 

interests and ideas without regard to professional 

fields. Muhly describes such a 

self-made community: “I 

make music with people I like; I 

happen to like lots of different 

people. I’d love to collaborate 

with an architect! I don’t see it 

as any big breaking out or 

crossing over [from classical 

music].” He may not have 

worked with an architect, but 

he has worked with a perfumer 

to create a ‘scent 

opera,’ which premiered at 

the Guggenheim. As composers 

work with more 

varieties and numbers of 

colleagues, in turn a wider audience hears 

their music—including those that may be interested 

in future collaboration. Finally, as 

composers write increasingly ‘for themselves’ 

and their newfound communities of colleagues, 

they feel less restricted to styles 

favoured by academic grants. 

All this alienation and resulting 

cross-pollination 

encourages a DIY attitude. 

“This do-it-yourself movement 

has come out recently 

out of necessity,” 

Mazzoli believes. “You’re 

told that classical music is 

dead. There are no record 

labels or outlets for 

your music. Funding 

is drying up. 

We’ve all heard 

that for our entire 

lives. So we’re 

looking to each other and to different models 

of funding and producing concerts. I’m very 

happy to be part of a group of young 

musicians who are interested 

in that, who are banding together to do something 

new, interesting and fun.” 

Postmodern Playground 

MUHLY 

“The music that I like the best— 

whether it’s classical or pop or 

whatever—always has this element 

of familiarity mixed with a 

lot of great surprises.” — MISSY MAZZOLI 

Of course there’s nothing new about the establishment’s 

distaste for genre bending or 

multidisciplinary exchange. The difference 

here seems to be a matter of scale. 

“We have a much bigger playground 

of information to work with,” explains 

Warhol Dervish co-founder 

and violist Pemi Paull (an LSM contributor). 

“There’s a realization of 

how much variety there is in the 

world. When I was growing up Ravi 

Shankar was Indian music. But now 

you can listen to 10,000 Indian 

musicians, anytime you 

want.” 

As is also the case outside 

music, the gap between 

each new standard becomes progressively 

shorter. For a long time, music 

could only be heard live. But then it 

spilled out onto records, then to tape, CD, 

downloads, streaming. As many have remarked, 

the move to digital is an important 

one as listeners are no longer 

encouraged to listen to an album in its entirety. 

A 2011 Nielsen-MIDEM study reports 

that even downloads are on the out, 

with more listeners streaming videos to 

listen to music than all music downloads 

combined. Since it is more or less instant, 

streaming indulges musical curiosity even 

more easily than downloading. Listeners 

can jump from one of the ‘10,000 Indian 

musicians’ to another—then on to a Bach 

chaconne, interpreted a thousand ways. 

All this to say that indie classical composers, 

now 30- and 20-somethings, are 

among the first whose careers are unrolling 

at a time when easy access to all of 

recorded music is the norm. Youtube, the 

major source of video-music streaming, 

was only officially launched in November 

2005. No matter that these numbers are 

not specific to classical music. In fact, that 

may be the point. Culture is a society’s 

personality. These composers, like all 

artists, create works that reflect the sum of 

their ways of life and thinking. 

From music by long-decomposed composers 

to music premiered an hour earlier; 

from music made in 

PHOTO Samantha West 

Lhasa to music made in 

Chicoutimi. Musicians are 

eager to soak up as much 

as possible of the music 

that they now have unprecedented 

access to. 

Until recently, Paull observes, 

“The singularity of 

your activities was sort of 

a benchmark of how good 

at it you were [as a musician]. 

Now, it’s invaluable to learn different 

kinds of music.” In turn, it’s easier than ever 

for composers to find trained musicians who 

can and will play diverse styles. 

Closing yourself to the world beyond your 

music is actually considered a handicap. 

Muhly, who holds a Columbia English literature 

degree, does not even cite music when I 

ask what inspires his compositions. “For me, 

the absolute best thing to do is to read voraciously,” 

he says. “Books, magazines, anything, 

and not about music. Reading cookbooks is 

exciting to me, reading historical novels is exciting 

to me, reading technical manuals about 

making knives is exciting. If you fall into a sort 

of rabbit hole on the Internet, that can be fun 

too. It’s about being a visitor in a foreign space, 

which is, I think, the essential experience of 

listening to music.” 

“There’s this old fashioned image of the composer 

as the silent genius who holes up in a 


MUSICULTURE 

IN MEMORIAM 

Maryvonne Kendergi 

by LOUISE BAIL 

Author of Maryvonne Kendergi, La musique en partage (Hurtubise HMH, 2002) 

cabin and writes things and then sends them out into the world,” Mazzoli 

agrees. “But I think that that’s really outdated.” For many musicians 

today, composing seems to be as much about absorbing culture 

as it is about creating it. 

“Music that only you can write” 

It was, however, exactly this appetite for varied influences that Pulitzer 

Prize-winning critic Justin Davidson attacked in a March 2011 New 

York Magazine piece. Naming, among others, Muhly and Mazzoli as 

part of “an omnivorous generation of composers” who “go merrily 

Dumpster-diving in styles of the past and of distant parts,” he concludes 

that “with their range of choices oppressively wide… [their 

music] bristles with allusions and brims with ambition—yet it somehow 

feels stifled by all that freedom.” Is this the future that Alex Ross 

described, when “reproduction will displace production” and “new 

music will consist of rearrangements of the old”? 

When The Wall Street Journal asked him to comment on Davidson’s 

argument, Muhly replied: “That’s just a boring ages argument… 

[like] people who are horrified that now that you can get Thai green 

chillies in the supermarket, every hausfrau can cook up a curry. It’s 

the end of the world! It’s always been the case that young artists have 

more access to more things and the only question is whether you have 

the skills to use them.” 

It’s true that in other streams of music, such as rock or jazz—or classical 

music before the 20 th century—innovating on established forms 

is not considered uncreative pastiche. Mazzoli believes the sum of varied 

influences can in fact be the key, paradoxically, to a unique voice. 

“You have to write the music that only you can write,” Mazzoli says. But 

that springs from “the sum of all your influences and experiences— 

which are really unique to you. I try to write music that is really of my 

time and place in the world. I’m not trying to recreate things that happened 

in the fifties, sixties, or even the nineties. My music comes from 

a lot of different places. The music that I like the best—whether it’s 

classical or pop or whatever—always has this element of familiarity 

mixed with a lot of great surprises.” 

The greatest surprise of all may be how we classify indie classical in 

fifty years. A marketing and media attempt to popularize instrumental 

music? Chronologically in a music history book some pages after 

minimalism? A death knell for classical music as a mainstream genre, 

the parallel to what Dylan or Davis going electric signalled for folk and 

jazz? Forgotten? 

Regardless, Mazzoli has one hope; that, “in the future, people will 

really still be listening to the music.” 

Perhaps she’s right. Perhaps the music can speak for itself. 

LSM 

Warhol Dervish plays Muhly, Mazzoli, and Parry at Sala Rossa, followed by The Youjsh 

(another genre-busting ensemble). December 18 at 9 p.m. For more information 

on Warhol Dervish and the concert, visit www.violalotus.tumblr.com 

This article is the first in a series exploring new music in a social context. Next edition— 

The rise of start-up ensembles: what’s behind the musical entrepreneurship trend? 

ON SEPTEMBER 27, 2011, Maryvonne Kendergi, a beacon of 

modern music in Quebec known as “the grandmother of composers” 

or the “great lady of music,” gently passed away at the age of 96. 

The title of Kendergi’s memoirs, La musique en partage, aptly 

describes the personal and professional 

life of the composer, who used 

her talents in the service of those 

close to her and shared her savings 

with those less fortunate. 

Her accomplishments demonstrated 

her exceptional gifts as a presenter 

and organizer. The broadcast 

series Festivals européens (1956- 

1963), where she reported on works 

from the great festivals of Europe, 

opened the doors to her brilliant career 

in radio. In 1961, with Pierre 

Mercure and Serge Garant, she organized 

the Semaine internationale 

de musique actuelle. 

At the instigation of Pierre Mercure, she helped establish the Société 

de musique contemporaine du Québec in 1966 alongside Serge 

Garant, Jean Papineau-Couture, Hugh Davidson and Wilfrid Pelletier. 

In 1967, she joined the University of Montreal’s Faculty of 

Music. In 1970, she created and organized the ‘Musialogues.’ In 1980, 

she readily lent her support to the Association pour l’avancement de 

la recherche en musique du Québec (ARMuQ, . now known as the Société 

québécoise de recherche en musique or SQRM), becoming its 

first president. She also donated the Maryvonne Kendergi fund to 

the UdeM, from which scholarships are awarded annually to musicology 

students. 

Of Armenian origin, she was born during the First World War, on August 

15, 1915 in Aintab (Gaziantep), on the southern border of modern 

Turkey. Survivors of genocide, her family moved to Aleppo, Syria. In 1928, 

the young Maryvonne completed her primary schooling with the Sisters 

of the Franciscan Missionaries of Mary, where she studied piano, discovering 

her musical vocation. She went to France to pursue her music 

studies at the École Normale de Musique in Paris with Nadia Boulanger. 

There, she completed a teaching degree (1933) before returning to the 

Middle East to try out a career as a concert artist (1933-1937). 

During the war, she helped prisoners and refugees, organized food 

banks, and supported the rescue networks for Jewish children. After 

the war, thanks to the friendships she had developed during this period, 

she was entrusted with the organization and management of 

cultural activities at the Cité Universitaire de Paris (1945-1952). 

While there, she rubbed shoulders with composers who introduced 

her to avant-garde music. 

She left Gravelbourg, Saskatchewan after four years in June 1956 

to pursue a concert career in Paris, little knowing that as she passed 

through Montreal, Marc Thibault, director of the French radio network, 

would succeed in keeping her there with this prescient statement: 

“Would you like to do what you are made to do?” 

Wherever she went she carried with her a deep attachment to her 

Armenian roots, a steadfast appreciation for France, the country 

that gave her its language and culture, and an unequivocal allegiance 

to Quebec, where she eventually settled. 

LSM 


16 


75 th BIRTHDAY REICH 

by LUCIE RENAUD 

La Monte Young started it, Terry Riley (with his In C) provided 

the foundation, and Philip Glass reclaimed it, but 

many consider Steve Reich the most important figure in 

American minimalism. 

“My generation is not a revolution. It was a restoration! A restoration 

of normalcy where popular sources were brought back into the normal 

situation of classical forces, and classical music—music that I was 

writing, that Glass or Terry Riley was 

writing—was interesting to the pop 

musicians,” explained Steve Reich, 

his legendary baseball cap in place, 

at the outset of an interview given for 

the Domaine Privé concert, held to 

mark his 75 th birthday, at the Cité de 

la Musique de Paris, October 11 to 18. 

Born October 3, 1936, in New York, 

Steve Reich initially studied piano 

before turning to percussion after 

hearing Kenny Clarke, the drummer 

for Miles Davis. He studied philosophy 

at Cornell and deepened his understanding 

of music history before 

devoting himself to composition 

with jazzman Hall Overton, William 

Bergsma, and Vincent Persichetti at the Juilliard School, where he was 

a contemporary of Philip Glass. He found himself in California next, 

and worked with Darius Milhaud and Luciano Berio. He rejected serialism, 

but stayed close to the modal jazz of John Coltrane and discovered 

African rhythms and percussion, which would 

repetition without redundancy 

THE ESSENTIAL STEVE REICH 

It’s Gonna Rain (1965) 

was designed around a repetitive 

motif and tape loops and essentially 

plays on the contrast between 

the human voice and 

electronic sounds. 

Music for 18 Musicians (1976) 

is based on eleven fundamental 

chords that serve as pillars for the 

entire work. During the creation of 

this piece, Reich studied the Balinese 

gamelan. 

Different Trains (1988) 

superimposes the voices of Pullman 

train conductors over those of 

Shoah survivors accompanied by a 

string quartet: the American Dream 

mingled with the horror of war. 

become the essence of the rhythmic 

cells in his writing. Swept up 

in the psychedelic wave, rock, he 

adopted an approach not devoid of 

tonal references. 

When he reflects on his years of 

study, Reich recalls the days when 

it was necessary for a young composer 

to master serial writing in 

order to be taken seriously by 

one’s peers. “I would say that I 

have a great deal more respect and 

regard for Webern than I do for 

Schoenberg because Schoenberg 

didn’t understand that he was 

writing contrapuntal music; he 

thought he was writing romantic 

music with twelve-tone notes. Webern 

understood that this was a 

contrapuntal technique. That political 

power, that you must write this way, was very powerful in the academic 

world and throughout the musical world. I say that my generation 

brought that to an end.” 

Steve Reich has achieved this tabula rasa especially by prioritizing the 

use of repetition, a strategy that allows him to create “music as a gradual 

process.” In a 1968 text, he clarified his approach: “The distinctive 

thing about musical processes is that they determine all the note-tonote 

(sound-to-sound) details and the over all form simultaneously. 

(Think of a round or infinite canon.) I am interested in the perceptible 

processes. I want to be able to hear 

the processes happening throughout 

the sounding music. To facilitate 

closely detailed listening a musical 

process should happen extremely 

gradually.” 

Unlike Cage, who uses random 

processes to influence the course of 

the narrative, Reich opts for a more 

collective search, a liberating ritual 

that permits multiple combinations 

of musical phrases from which he 

extracts the final material. 

“What I’m interested in is a compositional 

process and a sounding 

music that are one and the same 

thing. … The use of hidden structural 

devices in music never appealed to me. Even when all the cards 

are on the table and everyone hears what is gradually happening in a 

musical process, there are still enough mysteries to satisfy all,” he said. 

“These mysteries are the impersonal, unintended, psycho-acoustic byproducts 

of the intended process. These might include 

City Life (1995) was built around 

the sounds of New York City and 

remains one of the composer’s 

best-known works. 

Double Sextet (2007) won a 

Pulitzer Prize. Written for two identical 

sextets with interlacing motives. 

Reich considers this work 

among his most complete. 

WTC 9/11 (2011) has already 

been the source of much controversy, 

largely due to the original 

album artwork depicting the Twin 

Towers, which has since been 

changed. Written for three string 

quartets (one live, two recorded) 

and recorded voices, it is meant to 

be more dissonant. 

sub-melodies heard within repeated 

melodic patterns, stereophonic 

effects due to listener 

location, slight irregularities in performance, 

harmonics, difference 

tones, etc.” 

Over the years, his musical language 

has evolved, but he favors 

small ensembles. If he composes 

little today, his works are played 

the world over, interesting even to 

electronica DJs. 

LSM 

Steve Reich’s 2x5 will be performed at 

Acadia University in Wolfville, Nova Scotia 

on Feb. 4, 2011. Further performances of 

his work may be announced in the upcoming 

year. 

TRANSLATION: 

REBECCA ANNE CLARK 

DECEMBER 2011 / JANUARY 2012 

17

PHOTO Philippe Jasmin 

PORTRAIT 

NÉZET-SÉGUIN 

Yannick Nézet-Séguin 

A Musical Journey 

by WAH KEUNG CHAN 

Yannick Nézet-Séguin has 

made it to the top. He was 

recently named the young - 

est recipient of Quebec’s 

highest prize for an artist, 

the Prix du Québec’s Denise Pelletier 

award, usually given for lifetime 

achievement. The 36-year-old conductor, 

however, says: “I still feel that I’m 

at the beginning of my musical journey.” 

But it’s not only this prize; the true 

measure of success for an artist is international 

demand, and on December 

10 th , Nézet-Séguin will be doing a double 

header normally reserved for the 

likes of Gergiev and Maazel. In the 

afternoon, Nézet-Séguin will be conducting 

Gounod’s Faust live at the Met, 

broadcast to millions on the radio and 

in HD cinemas, and then immediately 

driven by car to Philadelphia for an 

evening concert (Tchaikovsky’s Second 

Symphony will be on the program). 

With Nézet-Seguin at the helm, reviews 

have been superb for the financially 

troubled Philadelphia Orchestra. 

Less than a year from officially taking 

over as Music Director, Nézet-Séguin is 

full of optimism. “The energy is really great,” 

said the young maestro. “I believe now that in a 

few months’ time, we’ll be forgetting those 

financial troubles.” It helps that the orchestra’s 

home, the Kimmel Centre (an Artec hall) has 

undergone a recent refurbishment that has improved 

the way the orchestra can hear itself on 

stage. It has made a noticeable difference. 

However, nothing seems to beat the Maison 

symphonique de Montréal (another Artec hall), 

in Nézet-Séguin’s opinion. He conducted his 

Orchestre Metropolitain in two different programs 

at Montreal’s new concert hall for the 

first time in October 2011. And he has 

only good things to say. “I have been in 

many Artec halls recently, 

and I feel this one is quite 

special. It’s such a pleasure 

to play on stage and I was in 

the audience a lot during 

the rehearsals, listening and 

adjusting,” said Nézet- 

Séguin, who believes once 

the adjustments have been 

made in a few years, this 

will be one of the finest halls 

in North America. 

How does it feel? “It’s very rare to say that 

an orchestra is able to hear themselves and 

each other so well. You don’t have to make up 

for the lack of clarity on stage. This is really 

rare. In special halls like Amsterdam and Vienna, 

it’s not so easy on stage. They are wonderful 

[in] their own right because they create 

a magnificent sound, but it’s also a little bit 

capricious. Walt Disney Hall is praised as a 

great hall, but to me it is a bit too clear and 

clinical. In Montreal, I felt that there is always 

a certain resonance to the sound and atmosphere, 

which is also something I like. 

“We hope to connect with the audience with 

NÉZET-SÉGUIN ON BACH’S CHRISTMAS ORATORIO 

“I think the Christmas Oratorio is a mixture 

of music that is folkloric, not spiritual. The 

opening chorus in unison is almost a vulgar 

effect for Bach. It’s something that 

really represents all the people rejoicing. 

Yet you have so many numbers 

where the intimacy of the 

soloists is really extreme. I’m thinking 

about many of the mezzo arias, and the 

fourth cantata has two of my most favourite 

arias. There is a soprano aria with an echo of 

oboe. It’s such a pure manner of expressing 

the music and yet it creates such a big effect. 

The other is the tenor aria with two violins. 

We go to a more varied 

emotional journey than [with Handel’s] 

Messiah because of the contrasts, 

which are so wide with the 

intimacies and the big chorus and the 

trumpets. Once we are immersed in the 

world of Bach, I think you can get every 

human emotion.” 

much less effort compared to playing 

in Salle Wilfrid-Pelletier,” Nézet- 

Séguin explained. “We have to learn 

to [perform] at pianissimo and piano 

level. The quality has to be very different 

because we have to play softer. 

So there is a learning curve for every 

musician that will [perform] in this 

hall. In the second rehearsal, everyone 

said that if they played a wrong 

or imperfect intonation, they would 

hear it so much that it became intimidating 

individually. This is in a way a 

good thing, but it’s a bad thing if it 

starts to have a thinner sound, so I 

had to encourage them to play 

slightly more, instead of being more 

timid with the playing.” 

Those two concerts in October 

showed Nézet-Séguin and the OM in 

perfect accord. The performance of 

Strauss’s Alpine Symphony showed a 

sumptuous orchestra sound, almost 

equaled in Nézet-Seguin’s new 

recording of Bruckner’s Fourth 

Symphony on ATMA. What’s the secret? 

“Nothing replaces time,” said 

Nézet-Séguin. “There still are many 

areas when I come to my players in 

OM, they already know what I want. I 

have developed [a relationship] with the musicians 

and it’s beautiful to see how a partnership 

and relationship over time is better.” 

For a young conductor, it seems odd that 

Nézet-Séguin would excel in the colossal works 

of Mahler and Bruckner. “I sometimes ask myself 

why I’m so attracted to and comfortable 

with these end-of-life and end-of-civilization 

works. I was attracted to Mahler’s Second and 

Bruckner’s Ninth and I decided to go with what 

I love most. In order to one day do them justice, 

it would be a good idea to start and have a 

fresh take on the way I did them when I was 

still in my 20s. Zubin Mehta did the 

same. The way I did them 10 years ago 

is different from the way I 

would do them now, and 

hopefully very different in 

20 years’ time.” 

LSM 

Yannick-Nézet Séguin conducts 

l’Orchestre Métropolitain in Bach’s 

Christmas Oratorio: December 11, 

16, 17, 18 and 21. 

www.orchestremetropolitain.com 

18 


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OPERA 

HIROMI OMURA will play Leonora 

in Montreal PHOTO Yves Renaud 

BELOW: JULIAN GAVIN will fill the 

role of Manrico PHOTO Clive Barda 

Il Trovatore 

SPOTLIGHT ON 

by JOSEPH K. SO 

warhorse, potboiler, overthe-top—these 

are common 

descriptors of Verdi’s 

Il Trovatore. One of the 

most parodied of operas, 

the Marx Brothers had a field day with it in A 

Night at the Opera, as did Gilbert and Sullivan 

in The Pirates of Penzance. Il Trovatore is one 

of the three most popular operas from Verdi’s 

“middle period,” the others being Rigoletto 

and La traviata. Based on attendance figures 

worldwide from 2005-2010, Il Trovatore 

ranks 5th in popularity among 29 operas by 

Verdi, who in turn tops the list as the most frequently 

performed opera composer with a total 

of 2259 performances, beating out Mozart, 

Puccini, and Wagner, according to Operabase.com. 

Detractors of Il Trovatore love to poke fun at 

its outrageously improbable plot, “oom-pahpah” 

orchestration, stand-and-deliver principals, 

and one-dimensional characterizations. Indeed, 

Il Trovatore has everything but the kitchen 

sink—a love triangle, mistaken identity, kidnapping, 

filial piety, revenge, murder, poison, suicide, 

burning at the stake, beheading—you get 

the idea! 

Why then is Il Trovatore so popular? For 

starters, it has some of the catchiest tunes in all 

of opera—who can resist the rousing Anvil Chorus, 

or remain unmoved by a thrilling high C 

that caps Manrico’s Di quella pira? Il Trovatore 

is above all a singer’s opera, requiring four 

great voices. Leonora must have a beautiful 

lirico-spinto with great flexibility and an exquisite 

high pianissimo. Fans expect Manrico 

to have a ringing high C for Di quella pira, 

never mind that Verdi never wrote it! When 

Riccardo Muti prohibited the late Sicilian tenor 

Salvatore Licitra from singing the C at La Scala, 

poor Licitra was almost booed off the stage by 

the rowdy loggionisti. As the bad guy, the baritone 

(Di Luna) should have the big, beefy, menacing 

sound of a Verdi baritone. A memorable 

Azucena is expected to tear up the stage with 

Strida la vampa. 

The Opéra de Montréal has assembled a strong 

LEONTYNE PRICE AS LEONORA 

AND JUSSI BJÖRLING AS 

MANRICO (1958) 

PHOTO Courtesy San Francisco Opera 

cast of principals. Japanese soprano Hiromi 

Omura, a fabulous Butterfly and Amelia from seasons 

past, returns as Leonora. She is partnered 

with Australian tenor Julian Gavin, who has the 

right Italianate spinto sound for Manrico. It’ll be 

an exciting evening in the theatre. 

On disc 

This Verdi warhorse is well represented on 

disc, with nearly thirty audio and ten video 

recordings. Not to disparage contemporary 

singers, but the golden age of Il Trovatore is between 

1950 and 1980. The legendary 1952 RCA 

set with the magnificent Jussi Björling (Manrico), 

Zinka Milanov (Leonora), Leonard Warren 

(Di Luna), and Fedora Barbieri (Azucena) 

remains a top choice after 60 years, despite the 

very dated sound. Leontyne Price, arguably the 

greatest Leonora of all time, is represented on 

disc four times! You can’t do better than either 

her 1959 RCA studio recording with Richard 

Tucker, Rosalind Elias, and Leonard Warren, 

or the 1962 live performance from Salzburg 

with Franco Corelli, Giulietta Simionato, and 

Ettore Bastianini, under the baton of Karajan. 

Those who find the non-Italian Björling too polite-sounding 

may prefer Corelli. Price’s second 

RCA recording in 1969 with a young Sherrill 

Milnes and an even younger Placido Domingo 

is also a winner. Domingo recorded it two more 

times—1984 

with Rosalind 

Plow - 

right on DG and 1991 with Aprile Millo on 

Sony, but his earlier recording is preferable. 

Pavarotti recorded Manrico beautifully for 

Decca in 1976 under Richard Bonynge; the rest 

of the cast (Sutherland, Horne, Wixell, Ghiaurov) 

is good if not exactly idiomatic. Jose Carreras 

unwisely took on Manrico, a role too 

heavy for his lyric tenor, in the 1980 Philips 

recording under Sir Colin Davis. His Leonora 

(Katia Ricciarelli) is equally wan. The more recent 

recordings are Bocelli and Villaroel on 

Decca (2004), Licitra and Frittoli on Sony 

(2000), and Alagna and Gheorghiu on EMI 

(2001)—I’m sorry to say none of these compares 

well with the best in the catalogue. 

There isn’t a clear winner on video, as all the 

versions have strengths and liabilities. 

Domingo fans will love the 1978 Vienna State 

Opera performance on TDK conducted by 

Karajan. Raina Kabaivanska (Leonora) is lovely 

if a bit underpowered. Pavarotti and Dolora Zajick 

are both wonderful in the Met 1988 performance 

on DG, but Sherrill Milnes is past his 

prime and Eva Marton’s unwieldy soprano and 

no high pianissimo are not ideal. The 1983 

Opera Australia performance conducted by 

Richard Bonynge is strictly for fans of Dame 

Joan. The 1985 Verona performance has a fine 

Di Luna in Giorgio Zancanaro, but Franco Bonisolli 

and Rosalind Plowright are merely all 

right. The most recent videos are also a mixed 

bag. The 2002 Covent Garden performance 

benefits from a spectacular Di Luna by Dmitri 

Hvorostovsky, and Carlo Rizzi conducts well, 

but Jose Cura is vocally uneven. If you are dying 

to see Manrico carrying a machine gun and the 

story set in some sort of oil refinery, then the 

2007 Bregenz performance on Opus Arte is for 

you. The singing by Carl Tanner and Iano 

Tamar is indifferent. The 2000 La Scala performance 

with Licitra and Frittoli conducted by 

Muti is a good choice, although, sadly, it is currently 

not available commercially. So the best 

version is the 1978 Domingo/Kabaivanska - 

/Karajan with the Vienna forces. 

LSM 

20 


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lan Tung inhabits a space of paradox: 

as a soloist and collaborator, 

a performer and composer, she sits 

at the crossroads between the East 

and the West, innovation and tradition. 

No wonder she founded an 

ensemble named Birds of Paradox. 

That particular project brings together Indian, 

Celtic and Chinese musical influences, 

but her many other projects—the JUNO-nominated 

Orchid Ensemble, the Vancouver 

Inter-Cultural Orchestra, and Tandava 

being the main ones—are no less melting 

pots of style. 

» CONT. ON PAGE 22 

Lan 

“There is so much more in music 

if you take away the boundaries 

between traditional and 

contemporary and see 

only music.” – LAN TUNG 

musical 

Tung 

polymath 

DEC. 21 

Marc 

Hervieux 

32 

DEC. 8, 9, 13, 14 

Handel’s 

Messiah 

27, 33 


PORTRAIT 

LAN TUNG 

Taiwanese-born erhu player Tung is based in 

Vancouver, but her playing takes her on extensive, 

diverse tours. Often, she’s soloing with an 

orchestra one week and playing for a visual 

arts/media or dance performance the next. In 

between gigs she studies fiddle-instruments 

around the globe with players of all stripes— 

from the erhu, with principal players in China, 

Taiwan, Canada and the U.S. to improvisation 

with violinist Mary Oliver in Amsterdam, Hindustani 

classical music with Kala Ramnath in 

Bombay, Egyptian music 

and maqam with Dr. Alfred 

Gamil in Cairo, 

graphic scores and improvisation 

with Barry 

Guy in Switzerland, and 

vocal music and music 

therapy, to boot. Her projects 

straddle world, new, 

chamber, orchestral, and 

multidisciplinary music. 

The myriad influences 

show up in her compositions 

and improvisations. 

This is nothing new, 

she observes: the meeting 

point of cultures “has 

been an inspiration for 

musicians around the 

world for centuries,” she 

“ 

Musicians are interested in hearing 

different styles of music being mixed together. 

There may be a clash, a contradiction, 

but it’s also where you get the 

new sounds to come out. 

says. “It’s very natural that musicians are interested 

in hearing different styles of music being 

mixed together. There may be a clash, a contradiction, 

but it’s also where you get the new 

sounds to come out. I really enjoy playing with 

the tension between the differences and the 

common places.” 

If versatility is her calling card when it comes 

to musical genres, ironically, it isn’t when it 

comes to her instrument. Although Tung studied 

piano and guitar briefly while completing 

her post-secondary degrees, she has rarely 

strayed from the erhu since picking it up for the 

first time at age 10. “I have a collection 

of other fiddle instruments 

from many different countries that 

I think maybe I’ll learn to play—but 

I just haven’t got time to learn any 

of it!” she says. “There’s still more 

to learn with the erhu.” Yet, learning 

erhu was no more than a matter 

of convenience at the time. “I just 

wanted to learn any musical instrument,” 

she explains. “Economically, 

Taiwan was still in the beginning of the 

big rise and so not that many families 

could afford a piano, piano lessons. 

When the Chinese orchestra [at 

school] started, it was a chance to learn 

musical instruments for free. I joined 

right away.” 

The erhu is commonly described as a 

Chinese violin. It’s a useful point of 

comparison: they’re both wooden 

stringed instruments in the soprano 

voice range—the 

erhu with a smaller 

two and a half octave 

range—played 

with a horse-hair 

strung bow. But the 

erhu is held vertically 

on the player’s 

lap and the bow is 

placed between the 

THE ERHU 

The erhu, unlike some other Chinese 

instruments, has a lot of ancient repertoire. 

The instrument is over 1,000 

years old but it was played 

mainly in folk or opera 

music as accompaniment, 

so the standard erhu repertoire’s 

earliest pieces 

date from the 1920s. To get 

initiated, start with Abing’s Erquan 

Yingyue, one of the standards. 

There are many arrangements and recordings 

available, including on The 

Norton Recordings, ninth edition. 

two—instead of 

four—strings. You 

put rosin on both 

sides of the bow and 

one side plays one 

string and the other, 

the second. The underhand 

bow hold is 

more similar to a 

double bass German 

bow hold than the one used for 

violin—similar to the way you 

hold chopsticks. There is no 

fingerboard: fingers press 

against the strings suspended over, instead 

of on, the wood. All this means 

the erhu can be played longer with less 

fatigue; pitch can be manipulated not 

” 

only by moving up and down the fingerboard 

but also by varying the pressure 

on the strings, allowing for a 

second style of vibrato. Of course, there are differences 

between the prototypical erhu instruments 

and the standard classical erhu—there are 

over 50 variations of related folk instruments 

from China. The strings were traditionally made 

of silk but are now commonly made of 

steel; Beijing opera instruments were 

made of bamboo, southern ones of 

coconut. 

Far from being tired of comparing 

the violin with the erhu, 

Tung believes the interplay between 

the familiar and the exotic 

is what makes intercultural and intergenre 

music affecting and inventive. “When 

people listen to music, they naturally reference 

what they’re familiar with,” she explains. Listening 

to music “is very subjective and based 

on people’s experience. It may not be what the 

musicians or composer intends, but that’s fine 

because that’s what makes it work. For example, 

in my compositions I sometimes use Chinese 

melodies and then I’ll twist them, make 

changes to them: the modes, the notes. That’s 

really interesting to me because the ear is used 

to something and then you create a challenge 

by having a new sound. This is why I haven’t 

got time to learn different instruments! I’m 

learning music, not just Chinese music or the 

erhu. I get to learn musical languages.” 

She pauses, then concludes: “There is so 

much more in music if you take 

away the boundaries between 

traditional and contemporary 

and see only music.” LSM 

www.lantungmusic.com 

Lan Tung solos on erhu with the 

Orchestre Metropolitain in Mark 

Armanini’s Heartland: 

• January 25, Église Notre-Damedes-Sept-Douleurs, 

Verdun 

• January 26, Maison symphonique, 

Montreal 

• January 28, Salle Désilets du 

Cégep Marie-Victorin, Rivière-des- 

Prairies 

www.orchestremetropolitain.com 

PHOTO Art Illman PHOTO TO LEFT Nenad Stevanovic 

22 


REGIONAL CALENDAR 

from December 1, 2011 to February 7, 2012 

Visit our website for the Canadian Classical Music Calendar http://calendar.scena.org 

SECTIONS 

PAGE 

Montréal and area . . . . . . . . . . . . . . . . . . . . . . .23 

Québec and area . . . . . . . . . . . . . . . . . . . . . . . .34 

Elsewhere in Québec . . . . . . . . . . . . . . . . . . . . .34 

Ottawa-Gatineau . . . . . . . . . . . . . . . . . . . . . . . . .35 

Radio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 

Deadline for the next issue: January 10 

Procedure: calendar.help.scena.org 

Send photos to graf@lascena.org 

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 

MetOp_HD Metropolitan Opera in High-Definition 

(either live from the Met in NY, or as an encore) 

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 tick et price ranges), please 

use the phone numbers pro vided 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 844- 

2172; McGill 398-4547; Place des Arts 842-2112; 

Ticketpro 908-9090 

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 Sherbrooke 

Est, 872-5338 

Ciné-Met MTL1 (for the 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-sur-Richelieu 

Ciné-Met MTL2 (for the 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 St-Denis & 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; 

Ciné-Met MTL3 (for the MetOp_HD Holiday Special Encores, 

1st of 2 screenings) Cinéma Banque Scotia, 

977 Ste-Catherine Ouest; Cinéma Starcité, 4825 

Pierre-de-Coubertin; Cinéplex Odeon Cavendish 

Mall, 5800 boul. Cavendish; Cinéma Colisée Kirkland, 

3200 Jean-Yves, Kirkland; Cinéplex Odeon Brossard, 

9350 boul. Leduc, Brossard; Cinéma Colossus Laval, 

2800 Cosmodôme, Laval 

Ciné-Met MTL4 (for the MetOp_HD Holiday Special Encores, 

2nd of 2 screenings) Cinéma Banque Scotia, 

977 Ste-Catherine Ouest; Cinéma Starcité, 4825 

Pierre-de-Coubertin; Cinéma Colisée Kirkland, 3200 

Jean-Yves, Kirkland; Cinéplex Odeon Brossard, 9350 

boul. Leduc, Brossard; Cinéma Colossus Laval, 2800 

Cosmodôme, Laval 

CMM Conservatoire de musique de Montréal, 4750 

Henri-Julien, 873-4031 x221: SC Salle de concert 

ConcU Concordia University, 848-4848: OPCH Oscar 

Peterson Concert Hall, 7141 Sherbrooke Ouest (Loyola 

campus) 

ÉGesù Église du Gesù, 1202 Bleury 

ÉSJB Église St-Jean-Baptiste, 309 Rachel Est: CSL 

Chapelle St-Louis, 4230 Drolet 

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 

McGU(mc) McGill University (main campus), 398-4547: 

POL Pollack Hall, 555 Sherbrooke Ouest (coin University); 

RED Redpath Hall, 3461 McTavish (entrée du côté 

est); 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, 5e étage 

PdA Place des Arts, 175 Ste-Catherine Ouest, 842- 

2112: MSM Maison symphonique de Montréal, 1600 

St-Urbain; SWP Salle Wilfrid-Pelletier 

SASP Église St. Andrew & St. Paul, Sherbrooke Ouest 

au bout de la rue Bishop, 842-3431 

ThOutremont Théâtre Outremont, 1248 Bernard 

Ouest, 495-9944 

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; UdM-Longueuil 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 

DECEMBER 

Thursday 1 

> 10am. CMM SC. 10$. Cours de maître. James 

Campbell, clarinette. 873-4031 

> 5pm. McGU(mc) TSH. FA. Chamber music. Students. 

398-4547 

> 5pm. UdM-MUS B-484. EL. Classe de Claude 

Richard, violon. 343-6427 

> 6pm. MBAM SBou. 12-25$. Exposition Big Bang. Les 

5 à 7 en musique. Le Magasin de tissu. Jean 

Derome, échantillonnage, flûte, saxophone. 

285-2000 x4, 800-899-6873 

> 7:30pm. ConcU OPCH. 0-5$. Concordia University, Department 

of Music, student concerts. University 

Chorus; Jean-Sébastien Allaire, cond.; Chamber 

Choir; Christopher Jackson, cond. 848- 

4848 

> 7:30pm. McGU(mc) POL. 10$. Karel Husa, R. Strauss, 

John Estacio, etc. McGill Wind Symphony; Alain 

Cazes, cond.; Andrew Dunn, trumpet. 398-4547 

> 7:30pm. UdM-MUS SCC. 0-12$. Maria Schneider. Big 

Band de l’UdM; Maria Schneider, Ron Di Lauro, 

chefs. 343-6427 

> 8pm. ConcU OPCH. 0-5$. Concordia University, Department 

of Music, student concerts. Jazz Improvisation I. 

Class of Charles Ellison. 848-4848 

> 8pm. McGU(mc) TSH. FA. Chamber music. Students. 

398-4547 

> 8pm. McGU(mc) SCL. FA. Jazz Combos. 398-4547 

> 8pm. McGU(mc) RED. FA. Masters Recital. Luke 

Fraser, guitar. 398-4547 

> 8pm. PdA MSM. 40$. Les grands concert du jeudi 1 Air 

Canada. Beethoven: Concerto pour piano #1; 

Vaughan Williams: The Wasps; A London Symphony. 

O.S. de Montréal; Roger Norrington, chef; Leif 

Ove Andsnes, piano. 842-9951 

> 8pm. Théâtre de la Ville, Salle Pratt & Whitney, 150 

Gentilly Est, Longueuil. 25-55$. Série Grands concerts. 

Noël tout en splendeur. Cantiques traditionnels 

de Noël. O.S. de Longueuil; Chorale Les 

Mélodistes; Marc David, chef; Marie-Josée 

Lord, soprano. 450-670-1616 

> 8:30pm. UdM-MUS B-484. EL. Olivia Le Roux, 

chant. 343-6427 

Friday 2 

> 5pm. McGU(mc) RED. FA. Chamber music. Students. 

398-4547 

> 5pm. McGU(mc) TSH. FA. Song Interpretation 2 

Class; Michael McMahon, piano. 398-4547 

> 7pm. Christ Church 

Cathedral, 635 Ste-Catherine 

Ouest. 8-15$. Wassail! a collection 

of carols. Nancy Telfer: Magnificat; 

Mark Sirett: Song of Angels; Marie- 

Claire Saindon: Train d’hiver; traditional and contemporary 

carols. Chorale Les Muses; Amy 

Henderson, director. 

> 7:30pm. CMM SC. 10$. Occident Orient. Takemitsu: Between 

Tides; Ravel: Trio en la mineur; Messiaen: 

Quatuor pour la Fin du temps. Trio Hochelaga. 

790-1245, 899-8978 

> 7:30pm. Église St-Laurent, 805 boul. Ste-Croix, St- 

Laurent. EL, CV. Handel: Messiah. Chorale et orchestre 

du Cégep Vanier; Philippe Bourque, 

chef; Julia Gavrilova, piano; Jacques Giroux, 

orgue; solistes étudiants. 744-7500 x7324 

> 7:30pm. McGU(mc) POL. 10$. McGill Sinfonietta; 

Alexis Hauser, cond. 398-4547 

> 7:30pm. UdM-MUS B-421. 11$. Opéramania (projection 

commentée de films d’opéra; Michel Veilleux, 

musicologue); soirée spéciale. Les meilleurs DVD et 

Blu-Ray d’opéras réalisés de 2005 à 2009. (1er de 2) 

343-6479 

> 7:30pm. UdM-MUS B-484. EL. Prokofieff, Feld, Bach, 

Gougeon, Reinecke. Classe de Denis Bluteau, 

flûte. 343-6427 


of Music, student concerts. Jazz Improvisation II. 

Class of Gary Schwartz. 848-4848 

> 8pm. Église Immaculée-Conception, 4201 Papineau. 

FA. Doctoral Recital. Jens Kornderfer, organ. 398- 

4547 

> 20h. Église St-Joachim, 2 Ste-Anne, Pointe-Claire. 8- 

16$. Grand concert. Lehár, Johann Strauss II, Schubert, 

etc. Ewald Chung, violon; Guy Beausoleil, 

narration; Caroline Bleau, Michelle Sutton, 

Sarkis Barsemain. 630-1220 

> 8pm. McGU(mc) RED. FA. Chamber music. Students. 

398-4547 

> 8pm. McGU(mc) TSH. FA. Song Interpretation 2 

Class; Michael McMahon, piano. 398-4547 

Saturday 3 

> 12:30pm. Ciné-Met MTL1. 19-26$. MetOp_HD, Live. 

Handel: Rodelinda (durée approx. 4h15min). Harry 

Bicket, cond.; Renée Fleming, Stephanie 

Blythe, Andreas Scholl. (f 28/1 Montréal; 3/12, 

28/1 Québec; 3/12, 28/1 Elsewhere in QC; 3/12, 28/1 

Ottawa-Gatineau) 

> 3:30pm. CMM SC. 5$. Les Grands Ensembles. Vivaldi: 

Concerto, RV 144; Corelli: Concerto grosso, op.6 #12; 

Richard Meyer: Folk Song and Shanty. Orchestre à 

cordes junior du Conservatoire; Thomasine 

Leonard, chef. 873-4031 

> 5pm. McGU(mc) SCL. FA. Chamber music. Students. 

398-4547 

> 7pm. Christ Church Cathedral, 635 Ste-Catherine 

Ouest. 10-20$. A Children’s Christmas. Tallis, Gruber, 

Britten, Johann Schulz, Marie Bachmann, Nancy 

Telfer, Peter Aston, John Gardner. Choeur des enfants 

de Montréal; Andrew Gray, Amy Henderson, 

cond.; Dominique Roy, piano. 

450-458-7129 

> 7:30pm. École de musique Vincent-d’Indy, Salle 

Marie-Stéphane, 628 chemin Côte-Ste-Catherine. 5- 

15$. Noël, une merveilleuse histoire (concert avec mise 

en scène). Gilles Vigneault, F. Blanche, traditionnels 

français anglais, espagnols, grégoriens, etc. (arr. 

Patenaude). Choeur Les Voix d’Elles; Gilbert 

Patenaude, chef; Mariane Patenaude, piano. 

573-7430 

> 7:30pm. Église Sacré- 

Coeur, 105 chemin du Richelieu, 

McMasterville. 5-15$. Concert de 

Noël pour la famille. Musique pop; 

Noël roumain; Noël c’est l’amour; 

chant africain: Zomina; etc. Les Jeunes voix du 

coeur; Julie Dufresne, chef; Anik Paquet, violon; 

Marie Muller, piano. 973-9910. 

> 7:30pm. McGU(mc) POL. 10$. McGill Sinfonietta; 

Alexis Hauser, cond. 398-4547 

> 7:30pm. McGU(mc) RED. FA. Opera McGill. 398-4547 

> 7:30pm. UdM-MUS SCC. 0-12$. SMCQ Série Hommage/Ana 

Sokolovic. La Symphonie dans tous ses états. 

Ana Sokolovic: Nine Proverbs; Messiaen: Les Offrandes 

oubliées; Schubert: Symphonie #9 “La Grande”. 

Orchestre de l’Université de Montréal; Jean- 

François Rivest, chef. 343-6427 

> 8pm. Église St-Esprit, 2851 Masson (angle 6e avenue). 

20-50$. Noël avec Natalie Choquette. John Rutter: 

Candlelight Carol; What Sweeter Music; Dormi, 

Jesu; Jesus Child; Nativity Carol; Angels’ Carol; Shepherd’s 

Pipe Carol; There Is a Flower; etc.; Raymond 

Daveluy (arr.), Ernest Gagnon(arr.): cantiques de Noël 

traditionnels français. Grand Choeur de Montréal; 

I Musici de Montréal; Martin Dagenais, 

chef; Natalie Choquette, soprano. 855-790- 

1245 

> 8pm. Maison de la culture Ahuntsic-Cartierville, 

10300 Lajeunesse, 1er étage. 10$. Des mots sur 

mesures. Musique québécoise, juive, turque, latine, 

chinoise, africaine. Ensemble Shtreiml; Ensemble 

Burdha. 872-8749 

> 8pm. McGU(mc) SCL. FA. Chamber music. Students. 

398-4547 

> 8pm. PdA MSM. 35$. L’OSM présente: Les Récitals. 

Mozart: Sonate #8, K.310; Berg: Sonate, op.1; Liszt: 

Sonate, S.178; Bartok: Six danses populaires 

roumaines. Hélène Grimaud, piano. 842-9951 

Sunday 4 

> 10:45am. SASP. CV. 2e dimanche de l’Avent. Pachelbel: 

Freu dich sehr, o meine Seele; Poston: Jesus Christ, 

the apple tree; Handel: Messiah: “And the glory of 

the Lord”; Guilmant: March on a theme of Handel, 

op.15 #3. Choeur de St. Andrew and St. Paul; 

Jordan de Souza, chef; Jonathan Oldengarm, 

orgue. 842-3431 

> 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. Institut universitaire de gériatrie de Montréal, 

Auditorium, 4565 ch. Queen-Mary. 15$. Schumann: 

Symphonie #1; Vivaldi, Weber, Arriaga, Ravel. O.S. 

CAMMAC Montréal; Jean-Pierre Brunet, chef. 

658-0828 

> 2pm. PdA SWP. 60-125$. Opéra de Montréal. Gala, 

événement bénéfice. 985-2258, 842-1221 


Gentilly Est, Longueuil. 5$. Concert de Noël (exclusivement 

pour les résidents du Vieux-Longueuil). O.S. de 

Longueuil; O.S. des jeunes de la Montérégie; 

Marc David, chef 

> 2:30pm. Église St-Viateur, 1175 Laurier Ouest (angle 

Bloomfield), Outremont. 10-100$. Concert de Noël. 

Mozart: Beatus Vir; Bach: Ehre sei dir Gott; Britten: 

Missa Brevis. Les Petits Chanteurs du Mont- 

Royal; Gilbert Patenaude, chef; Dominique 

Lupien, orgue. 286-2145 x228 

> 2:30pm. St. John’s Lutheran Church, 3594 Jeanne- 

Mance (coin Prince-Arthur). Freewill offering. Serenata 

at St. John’s. Boccherini: La musica notturna di 

Madrid; Purcell: Hear my prayer, O Lord; Eric Whitacre: 

Lux Aurumque; Pawel Lukaszewski: Crucem tuam 

adoramus; Bach: cantata “Herz und Mund und Tat 

und Leben”, BWV 147. voces boreales; Michael 

Zaugg, cond.; 11 musicians; Dawn Bailey, 

Meagan Zantingh, Michiel Schrey, Vincent 

Ranallo. 844-6297 

> 3pm. CCPCSH. LP. Rendez-vous de dimanche. Piano 

paradiso: musique de film. Georges Delerue: hommage 

au réalisateur Philippe de Broca; Cinema Paradiso, 

The Mission, Titanic, Amélie Poulin. 

Ensemble En-le-vent, flûtes, violoncelle, 

piano. 630-1220 

> 3pm. CMM SC. 10-25$. Série Vingtième et plus. 

Schulhoff: Quatuor #1; Wolfgang Rihm: Grave in 

memoriam Thomas Kakuska; Berg: Suite lyrique. 

Quatuor Molinari. 527-5515 

> 3pm. Église catholique de St-Lambert, 41 Lorne, St- 

Lambert. 20-25$. Noël dans toute sa splendeur, Christmas 

Phantasy. Bach: Cantata 140 “Wachet auf” (e); 

Paul Halley: Freedom Trilogy; trad. Christmas music. 

Société chorale de St-Lambert; South Shore 

Children’s Chorus; David Christiani, Betty-Jo 

Christiani, chefs; orchestre (strings, african 

percussion); Chad Heltzel, piano. 450-462-9834, 

450-465-3522 

> 3pm. Église unie St-Jean, 110 Ste-Catherine Est. 0- 

25$. Les Sept Cloches de Bethléem. Arvo Pärt, Byrd, 

Górecki, John Tavener, etc. Choeur de chambre 

Tactus; Simon Fournier, chef; Étienne Pilon, 

narrateur. info@tactus.ca. (f 10) 

> 3pm. Gesù centre de 

créativité, 1200 Bleury. 12$. Rejoice!. 

Poulenc: Quatre motets pour 

le temps de Nöel; Bach: Lobet den 

Herrn; Duruflé: Quatre motets sur 


CONCERT 

Previews 

by RENÉE BANVILLE, MILAN BERNARD, JACQUELINE 

VANASSE, MARIE-ASTRID COLIN 

MONTREAL 

CHRISTMAS CELEBRATIONS IN UNISON 

The singers and musicians of the Studio de musique ancienne de Montréal 

and their conductor Christopher Jackson will present a sumptuous 

program on the 18 at 3 p.m., including Gabrieli’s pieces for choir 

and brass—just perfect for the upcoming Christmas holidays. Saint- 

Léon church, Westmount. www.smam-montreal.com 

The great holiday musical 

tradition will continue 

at the Church of Saint Andrew 

and Saint Paul. Particularly 

of note are CBC 

Radio’s annual Sing-In 

(Sunday the 4, 3 p.m.) and 

Carols by Candlelight 

(Sunday the 18, 4:30 p.m.). 

Musical director and organist: 

Dr Jonathan Oldengarm. 

Musicians and 

singers under the direction of Jordan de Souza. www.standrewstpaul.com 

During the solemn Nativity mass on December 24, the professional 

choir of the Notre-Dame Basilica will sing Marc-Antoine Charpentier’s 

famous Messe de Minuit under the direction of Béatrice Baillargeon. 

With Pierre Grand-Maison on the organ. Soloists and times 

to be confirmed. Tickets required. www.basiliquenddm.org 

Directed by Miklόs Takaćs, the Montreal Philharmonic Society and 

the singers and instrumentalists of the Université de Québec à Montréal 

Choir will perform Noël des nations with arrangements by Miklόs Takaćs 

in addition to Bach’s Quodlibet, BWV 524. Saturday the 10, 8 p.m., 

Chapelle historique du Bon-Pasteur. www.philharmontreal.com RB 

CLASSIC CHRISTMAS FAVOURITES 

CHRISTOPHER JACKSON 

JORDAN DE SOUSA 

PHOTO Emily Ding 

On December 10, the Chœur Classique Vaudreuil-Soulanges gives a 

Christmas concert at the Sainte-Rose de Lima Church in Île-Perrot, 

under the baton of ADISQ-nominated Jean-Pascal Hamelin. The program 

includes your Christmas favourites by Bach, Rameau, Berlioz, 

Rachmaninov, André Mathieu and many more, sung in French, English, 

Russian, German, and Latin. www.choeurclassiquevs.com JV 

24 


des thèmes grégoriens. Seraphim chamber 

choir; Amy Henderson, cond. info@seraphimsings.ca. 

> 3pm. MBAM. FD. Christmas Concerts at the Museum. 

Concerto Della Donna. 975-5907 

> 3pm. UdM-MUS B-421. EL. Bach, Debussy, Handel, 

Mozart. Classe de Yolande Parent, chant. 343- 

6427 

> 3:30pm. McGU(mc) POL. 15-35$. LMMC Concerts. 

Schumann, Eisler, Mahler. Christianne Stotijn, 

mezzo; Julius Drake, piano. 932-5796 

> 4pm. St. John’s United Church, 98 Aurora, Pointe-Claire. 

15$. Sounds Like Christmas, benefit concert for the St. 

John’s United Roof Fund. Marina Krejcarova, soprano; 

Jan Krejcar, piano; St. John’s United Church Choir. Handel, 

Mozart, Rachmaninoff, Schumann, Puccini, 

Bizet, etc. 697-6459, 504-7899 

> 4:15pm. ÉSJB CSL. EL, CV. Les Dominicales. Sylvie 

Ouellette, flûte; Yves G. Préfontaine, orgue. 

(Précède le service de 17h) 402-0314 

> 7:30pm. Église de la Nativité de la Ste-Vierge, 155 

chemin St-Jean, Laprairie. 25-50$. Concert bénéfice de 

la Fondation Jean-de-la-Mennais: Sur une note de solidarité. 

Cantiques traditionnels de Noël. O.S. de 

Longueuil; chorale des élèves du Collège 

Jean-de-la-Mennais; Marc David, chef; Marie- 

Josée Lord, soprano. 450-659-7657 x2339 

> 7:30pm. SASP. CV. CBC Sing-Along. Cantiques traditionnels 

de Noël. Choeur et orchestre de St. Andrew 

and St. Paul; Jordan de Souza, chef; 

Jonathan Oldengarm, orgue. (participation du 

public lors des cantiques) 842-3431 

> 7:30pm. UdM-MUS B-484. EL. Rodrigo, Sainz de la 

Maza, Martin. Classe de Peter McCutcheon, guitare. 

343-6427 

> 8pm. McGU(mc) RED. FA. Class of David Martin, 

trombone choir. 398-4547 

> 8pm. McGU(mc) SCL. FA. Class of Winston Purdy, 

voice. 398-4547 

Monday 5 

> 5pm. McGU(mc) POL. FA. Masters of Music. Benjamin 

Henriques, saxophone. 398-4547 

> 5pm. UdM-MUS B-421. EL. Classe de Maneli 

Pirzadeh, piano. 343-6427 

> 7pm. McGU(mc) SCL. FA. Class of Ilya Poletaev, 

piano. 398-4547 

> 7:30pm. McGU(mc) RED. 10$. McGill Baroque Orchestra; 

Schulich School Singers; Matthias 

Maute, cond. 398-4547 

> 7:30pm. McGU(mc) TSH. 10$. McGill Jazz Orchestra 

3; Domenic Rossi, cond. 398-4547 

> 7:30pm. UdM-MUS B-421. EL. Chopin, Liszt, Albeniz, 

Mozart. Classe de Jimmy Brière, piano. 343-6427 

> 8pm. Salle André- 

Mathieu, 475 boul. de l’Avenir, 

Laval. 26-50$. Noël en choeur. 

Tchaïkovsky: Casse-noisette, Valse 

des fleurs; Bach: Wachet auf, ruft 

und die Stimme, BWV 140; André Jutras: Suite folklorique; 

Handel: Messiah, Hallelujah; L. Anderson: 

Sleighride; airs traditionnels de saison. O.S. de 

Laval; Alain Trudel, chef. 450-667-2040. (f 6) 

> 8pm. UdM-MUS B-484. EL. Bach, Kabalevsky, Schubert, 

Cassadó, Debussy, Britten, Beethoven. Classe de Johanne 

Perron, violoncelle. 343-6427 

Tuesday 6 

> 1:30pm. Université de Montréal, campus Laval, 1700 

Jacques-Tétreault (angle boul. de l’Avenir; métro 

Montmorency), Laval. 12$. Matinées d’Opéramania 

Laval. Tchaïkovski: Eugène Onéguine. Wojciech 

Drabowicz, Elena Prokina, Martin Thompson, 

Louise Winter, Frode Olsen; Andrew Davis, 

chef. 790-1245, 343-6479. (f 13) 

> 3:30pm. McGU(mc) SCL. FA. Class of Sara Laimon, 

piano. 398-4547 

> 7pm. McGU(mc) POL. FA. Lab Band Class; Debbie 

Best, cond. 398-4547 

> 7:30pm. CMM SC. 5$. Les Grands Ensembles. Bach, 

Ortiz, Purcell, Frescobaldi. Ensembles de 

musique baroque du Conservatoire; Luc 

Beauséjour, Mireille Lagacé, chefs. 873-4031 

> 7:30pm. Maison de la culture Rosemont-La-Petite- 

Patrie, 6707 de Lorimier. EL. Chorale jazz; Ensemble 

vocal jazz; Vincent Morel, dir.; 

classes de Vincent Morel et Hélène Martel, 

chant jazz. 343-6427, 872-1730 

> 7:30pm. UdM-MUS B-484. EL. Desenclos, Tomasi, 

Molinelli, Marin Marais, Théberge, Rossé. Classe de 

Jean-François Guay, saxophone. 343-6427 

> 7:30pm. UdM-MUS B-421. EL. Fauré, Franck, Ligeti, 

Schumann. Classe de Yegor Dyachkov, violoncelle. 

343-6427 

> 8pm. McGU(mc) TSH. FA. Class of Garry Antonio, 

guitar. 398-4547 

> 8pm. PdA MSM. 40$. Les grands concerts du mardi 

Homeocan. François Morel: Il faut inventer la terre; 

Holst: Les Planètes; Colin Matthews: Pluto The Renewer. 

O.S. de Montréal; Choeur de femmes de 

l’OSM; Ludovic Morlot, chef. 842-9951 

> 8pm. Salle André- 

Mathieu, 475 boul. de l’Avenir, 

Laval. 26-50$. O.S. Laval, Noël. 

450-667-2040. (h 5) 

Wednesday 7 

> 1:30pm. Université de Montréal, campus Longueuil, 

101 place Charles-Lemoyne, bureau 209 (face au 

métro Longueuil), Longueuil. 12$. Matinées 

d’Opéramania Longueuil. Handel: Tamerlano. Monica 

Bacelli, Plácido Domingo, Ingela Bohlin, 

Sara Mingardo, Jennifer Holloway; Paul Mc- 

Creesh, chef. 790-1245, 343-6479. (f 14) 

> 5pm. UdM-MUS B-421. EL. C.P.E. Bach, Mozart, 

Poulenc, Pasculli, Micheline Coulombe Saint-Marcoux. 

Classe de Lise Beauchamp, hautbois. 

343-6427 

> 5pm. UdM-MUS B-484. EL. Schubert, Brahms, Dvorak, 

Piazzolla, Tchaïkovski. Classe de Jutta Puchhammer, 

musique de chambre. 343-6427 

> 7pm. UdM-MUS SCC. EL. Lutoslawski, Mozart. 

Justyna Gabzdyl, piano. 343-6427 

> 7:30pm. Centre culturel et communautaire Henri- 

Lemieux, Théâtre du Grand Sault, 7644 Edouard, 

LaSalle. 12$. Ciné-concert. La ruée vers l’or (film 

muet, É.U., 1925, 72 min., Charles Chaplin); Roman 

Zavada: compositions originales. Roman Zavada, 

piano. 367-5000 

> 7:30pm. CMM SC. EL. Musique d’aujourd’hui. Stravinsky, 

Ana Sokolovic, Émilie Girard-Charest, Alexis Aubin- 

Marchand. Élèves du Conservatoire; Véronique 

Lacroix, chef. 873-4031 

> 7:30pm. MBAM SBou. 26-44$. Série Centre-ville. 

Symphonies lumineuses. Beethoven: Symphonie #4, 

op.60; Symphonie #7, op.92. I Musici de Montréal; 

Jean-Marie Zeitouni, chef. 982-6038. (f 

8) 

> 7:30pm. UdM-MUS B-421. EL. Bach, Bartok, Denis 

Gougeon, Liszt. Classe de Daniel Moran, piano. 

343-6427 

> 8pm. CHBP. 5-20$. Concert autour des cordes. Martin 

Matalon: Trame XI; etc. Nouvel Ensemble Moderne; 

Lorraine Vaillancourt, chef; Yannick 

Chênevert, contrebasse. 343-5636 

> 8pm. Christ Church Cathedral, 635 Ste-Catherine 

Ouest. 10-20$. Les éléments de la saison. Concerto 

Della Donna. 975-5907. (f 11) 


of Music, student concerts. Class of Gregory 

Chaverdian, chamber ensemble, piano. 

848-4848 

> 8pm. Église St-Hubert, 5310 chemin Chambly, St- 

Hubert. 7-17$. Série Portée pédagogique de la 

CSMV. Concert de Noël. Cantiques traditionnels de 

Noël. O.S. de Longueuil; Chorale de l’école primaire 

Les Petits-Explorateurs; Chorale de 

l’école secondaire St-Edmond; Marc David, 

chef. 450-463-7065 

> 8pm. Maison de la culture Rosemont-La-Petite-Patrie, 

Studio 1, 6707 de Lorimier. LP. Noël remix. Stacey 

Brown: No(t)well 2.0 or Looking for Christmas in all 

the Wrong Places (création); Éric Champagne: La 

nuit la plus longue (création); Benoît Côté: Renaissance 

(création); Messiaen, George Crumb, 

Tchaïkovski. Matthieu Fortin, piano. 872-1730 

> 8pm. UdM-MUS B-484. EL. Schubert, Brahms, Dvorak, 

Piazzolla, Tchaïkovski. Classe de Jutta Puchhammer, 

musique de chambre. 343-6427 

Thursday 8 

> 12:30pm. McGU(mc) TSH. FA. Undergraduate Exam- 

Recital. Mengje Xiong, piano. 398-4547 


Recital. Maya Rand, piano. 398-4547 


Recital. Jack Olszewski, piano. 398-4547 


Recital. Sarah Aleem, piano. 398-4547 


Recital. Lawrence Shirkie, baritone. 398-4547 

> 7:30pm. CMM SC. 5$. Les Grands Ensembles. Mozart: 

Sérénade pour vents, K.375; Dvorák: Suite tchèque. 

Ensemble à vent du Conservatoire; 

Véronique Lacroix, chef. 873-4031 

> 7:30pm. MBAM SBou. 26-44$. Série Centre-ville. I 

Musici, Beethoven 4&7. 982-6038. (h 7) 

> 7:30pm. UdM-MUS B-484. EL. Classes de Vincent 

Morel et Hélène Martel, chant jazz. 343-6427 

> 7:30pm. UdM-MUS SCC. EL. Ives: Country Band 

March; Philip Glass: Saxophone Quartet; Copland: 

Quiet City; Revueltas: Sensemayá; Evelin Ramon: Accumulations 

(création); Persichetti: Celebrations, 

op.103. Les Grands Vents de Montréal; David 

Martin, chef; Choeur de l’UdM; Raymond Perrin, 

chef; Thierry Champs, trompette. 343- 

6427 

> 7:30pm. UdM-MUS B-421. EL. Bach, Haydn, Beethoven, 

Brahms, Chopin, Liszt, Rachmaninoff, Scriabine. 

Classe de Jean Saulnier, piano. 343-6427 

> 8pm. CHBP. LP. Ravel, Fauré, Debussy, Franck. 

Olivier Thouin, violon; François Zeitouni, 

piano. 872-5338 


of Music, student concerts. Jazz. Ensemble 

Eclectic (class of Gary Schwartz). 848-4848 

> 8pm. ÉSJB. FA. Doctoral Recital. Julia Dokter, 

organ. 398-4547 

> 8pm. Maison de la culture Frontenac, 2550 Ontario 

Est. LP. Colinda. Noëls médiévaux de Provence. 

Strada. 872-7882 

> 8pm. McGU(mc) RED. FA. Master’s Recital. Emilie 

Brulé, baroque violin. 398-4547 

Friday 9 

> 10:30am. PdA MSM. 40$. Les matins symphoniques. 

Gershwin: Rhapsody in Blue; Holst: Les Planètes. 

O.S. de Montréal; Choeur de femmes de 

l’OSM; Ludovic Morlot, chef; Simone Dinnerstein, 

piano. 842-9951 

> 4pm. McGU(mc) RED. FA. Undergraduate Exam- 

Recital. Gwyneth Bergman, organ. 398-4547

4:30pm. McGU(mc) TSH. FA. Undergraduate Exam- 

Recital. Leana Lebeau Weilbrenner, soprano. 

398-4547 

> 6:30pm. MBAM SBou. 15-30$. Tableaux en 

musique. Quintettes romantiques. Weber: Quintette 

pour clarinette et cordes, op.34; Brahms: Quintette 

pour clarinette et cordes, op.115. Alain Desgagné, 

clarinette; Ann Chow, Alison Mah- 

Poy, violon; Natalie Racine, alto; Sylvain 

Murray, violoncelle. (17h visite commentée: 

L’art européen et le romantisme) 285-2000 x4, 

800-899-6873 

> 7pm. UdM-MUS B-421. 9$. Opéramania (projection 

commentée de films d’opéra; Michel Veilleux, musicologue). 

Bizet: Djamileh / Adam: Le Toréador, 

ou L’accord parfait. Marie Gautrot, Sébastien 

Guèze, Armando Noguera, Jean-Loup 

Pagésy; Miquel Ortega, chef / Ghyslaine 

Raphanel, Matthieu Lécroart, Franck Cassard; 

Jean-Luc Tingaud, chef. 343-6479 

> 7:30pm. Église unie Union, 24 Maple, Ste-Annede-Bellevue. 

8-15$. Lakeshore Chamber Music Society. 

Armenian liturgical songs; Christmas carols. 

The Orpheus Singers. 457-5280 

> 7:30pm. UdM-MUS B-484. EL. Classe d’André 

Moisan, clarinette. 343-6427 

> 7:30pm. UdM-MUS SCC. EL. John Cage, Mauricio 

Kagel, Bruce Mather, Nicolas Gilbert. Atelier de 

percussion de l’UdM; Julien Grégoire, chef. 

343-6427 

> 8pm. CHBP. EL. SMCQ Série Hommage/Ana 

Sokolovic. Montréal/Tel Aviv à la Chapelle. Ana 

Sokolovic: Danses et interludes; Claude Vivier: Shiraz; 

Charles Ives: Sonate #1; Jonathan Keren: Phantastrophe 

#1; Matan Porat: .for piano; Maxime McKinley 

(création). Matan Porat, piano. 872-5338 

> 8pm. Église Présentation-de-la-Ste-Vierge, 

665 de 

l’Église, Dorval. 20$. Hodie! 

Hodie!. Morten Lauridsen, 

Leonard Enns, Mark Sirett, 

Stephen Chatman, Peter Schubert, Holst, Sweelinck. 

Sainte-Anne Singers; Margo Keenan, 

cond. 426-9856. (f 10) 

> 8pm. Église St-Joachim, 2 Ste-Anne, Pointe-Claire. 

20$. Handel: Messiah, Part 1; Christmas carols; 

sing-along. Stewart Hall Singers; Douglas 

Knight, cond.; chamber orchestra; Tamara 

Vickerd, Sylvain Paré, Clayton Kennedy. 

697-3873, 697-8884 

> 8pm. Salle Jean-Eudes, 3535 boul. Rosemont. LP. 

André Ristic/ Cecil Castellucci: Les Aventures de 

Madame Merveille. ECM+; Véronique Lacroix, 

chef; Pascale Beaudin, Marie-Annick 

Béliveau, Michiel Schrey, Pierre-Étienne 

Bergeron. 872-1730 

Saturday 10 


Gounod: Faust (durée approx. 4h10min). Yannick 

Nézet-Séguin, cond.; Jonas Kaufmann, 

René Pape, Marina Poplavskaya. (f 4/2 Montréal; 

10/12, 4/2 Québec; 10/12, 4/2 Elsewhere in 

QC; 10/12, 4/2 Ottawa-Gatineau) 

> 2:30pm. Église presbytérienne Maisonneuve, 1606 

Letourneux (près Pie-IX & Ste-Catherine Est). CV. Concert 

de Noël. Leroy Anderson: A Christmas Festival; 

Sleighride; Handel: Messiah, “Hallelujah!” (orch. 

Mozart); Lionel Daunais: La tourtière; Ernest Gagnon: 

Suite de noëls; Yon: Gesù bambino; etc. Le Choeur 

Québécois; Jean-François Noël, chef; Sonia 

Pon, flûte; orchestre synthétique. 253-4479 

> 4pm. Mountainside United Church, 4000 The Boulevard, 

Westmount. CV. Holiday Concert. Purcell, Peter 

Aston, Bob Chilcott, Lionel Daunais, John Leavitt, 

Norman Luboff, Erica Phare, John Rutter. English 

Montréal School Board Chorale; Patricia Abbott, 

chef; The Lyric Theatre Singers; Bob 

Bachelor, chef; The Citadel Band; Glen Shepherd, 

chef; Anne-Marie Denoncourt, Linda 

Laroche, piano. 483-7200 x7234 

> 7pm. Église St- 

Joseph, 164 Martel, Chambly. 

25$. Petit Noël d’antan. Fauré: 

Cantique de Jean Racine; Schubert: 

Ave Maria; Adam: Minuit 

Chrétiens; Rameau: Hymne à la nuit; Katherine K. 

Davis: L’Enfant au tambour; traditionnels français: 

La Marche des rois mages; Trois anges sont venus 

ce soir; D’où viens-tu bergère; etc. Atelier 

lyrique de Chambly; Véronique Tremblay, 

chef; Isabelle Mathieu, piano. 450-572-0793, 

450-447-5879. 

> 7:30pm. Église St-Jude, 10120 Auteuil. 20-25$. 

Noël dans les Antilles. Glenn McClure: Caribbean 

Christmas Mass. Choeur des Disciples de 

Massenet; Lucie Roy, chef; ensemble instrumental. 

381-4270 

> 7:30pm. UdM-MUS B-484. EL. Ponce, Weiss, Jose, 

Rodrigo, Vivaldi. Classe de Bruno Perron, guitare. 

343-6427 

> 8pm. Église de la Purification B.V.M., 445 Notre- 

Dame, Repentigny. 35-37$. Série Grandes Étoiles. 

Anton Kuerti, piano. 450-582-6714 

> 8pm. Église Notre-Dame-de-Grâce, 5333 Notre- 

Dame-de-Grâce. 30$. Joy to the World, An Evening of 

Music, Song & Dance. Elgar: Cello Concerto, mvts 1- 

2; Pomp and Circumstance, op.39; Tchaikovsky: 

Nutcracker (e); Mozart: Ave Verum Corpus; 

Beethoven: Fantaisie Chorale; etc. Musicians of 

the World S.O.; ; O.S. des Jeunes de Joliette; 

Marjorie Walter Youth Choir; Marc-André 

Riberdy, cello; Pierre Jasmin, piano; Chantal 

Parent, soprano; dancers. 484-7428 

> 8pm. Église St-Matthieu, 1014 Richelieu, Beloeil. 

12-35$. Le Choeur chante les Amériques. Martín 

Palmeri: Misa a Buenos Aires (Misa tango); trad. 

américain: negro spirituals. Choeur de la Montagne; 

I Musici de Montréal; Julien Proulx, 

chef; Thierry Bégin-Lamontagne, guitare; 

Jonathan Goldman, bandonéon; Francine 

Lacroix, piano. 816-6577. (f 11) 

> 8pm. Église St-Pierre-Apôtre, 1201 Visitation. 25- 

30$. Noël autour du monde. Britten, Morten Lauridsen, 

Mendelssohn, Jan Sandström, Eric 

Whitacre, Vaughan Williams. Choeur de l’Art 

Neuf; Pierre Barrette, chef. 518-1668. (f 11) 

> 8pm. Église unie 

Union, 24 Maple, Ste-Anne-de- 

Bellevue. 20$. Sainte-Anne 

Singers. (Post-concert reception) 

426-9856. (h 9) 

> 8pm. L’Étoile Banque Nationale, Quartier Dix30, 

6000 boul. de Rome, Brossard. 30-35$. Série Orchestre 

en tournée. Concert bénéfice pour la Fondation 

des comités d’entraide de Brossard. 

Répertoire traditionnel de Noël. O.S. de 

Longueuil; Chorale: Les Mélodistes; Marc 

David, chef; Patsy Gallant, chanteuse pop. 

967-2050 

> 8pm. McGU(mc) POL. FA. Undergraduate Exam- 

Recital. Ysel Zada-Taghi, violin. 398-4547 

> 8pm. St. John Fisher Church, 120 Summerhill, 

Pointe-Claire. 15$. In natali domini. Plain-chants 

et polyphonies du Moyen-Âge (France, Angleterre); 

noëls français de la Renaissance; noëls 

anglais 13e-20e siècles. Vox ensemble choral; 

Alain Vadeboncoeur, chef. 488-5793. (f 18) 

> 8pm. St. John the Evangelist Church (Red Roof), 

137 Président-Kennedy (coin St-Urbain). 0-25$. 

Tactus. info@tactus.ca. (h 4) 

Sunday 11 

> 10:45am. SASP. CV. 3e dimanche de l’Avent. Brahms: 

Es ist ein Ros’ entsprungen; Sandström (arr.): Lo, 

how a rose; Handel: Messiah: “O thou that tellest”; 

Thierry Escaich: Évocation 2. Choeur de St. Andrew 


Jonathan Oldengarm, orgue. 842-3431 

> 11am. Maison JMC. 9$. La Musique, c’est de 

Famille!. Le grand bal de Noël. (Pour les 3 à 5 ans; 

40 minutes) 845-4108. (f 13) 

> 1pm. UdM-MUS SCC. EL. Oeuvres vocales et instrumentales. 

Classes de de Jean-Eudes Vaillancourt, 

musique de chambre, 

d’ensemble-claviers et d’accompagnement. 

343-6427 

> 1:30pm. Maison JMC. 9$. La Musique, c’est de 

Famille!. Le grand bal de Noël. (Pour les 6 à 12 

ans; 55 minutes) 845-4108. (h 11) 

> 2pm. Centre culturel de Joliette, 20 St-Charles- 

Borromée Sud, Joliette. 30$. Concert de Noël. Chansons 

traditionnelles de Noël. Sinfonia de 

Lanaudière; Stéphane Laforest, chef; Gianna 

Corbisiero, soprano; Gino Quilico, 

baryton. 450-759-6202. (f 18) 


30$. Choeur de l’Art Neuf. 518-1668. (h 10) 

> 2:30pm. Église Marie-Reine-de-la-Paix, 11075 

boul. Gouin Ouest, Roxboro. 5-10$. Benefit Concert 

for West Island Community Shares. Prokofiev: Peter 

and the Wolf; Bernstein: Candide, overture; Walton: 

Crown Imperial; Handel: Messiah, Hallellujah!; 

Christmas carol sing-along. West Island Youth 

S.O.; Stewart Grant, cond.; Lynn Desjardins, 

Raymond, narrators. 428-9643 

> 2:30pm. Église St-Matthieu, 1014 Richelieu, Beloeil. 

12-35$. Ch. de la Montagne. 816-6577. (h 

10) 

> 3pm. CCPCSH. LP. Rendez-vous de dimanche. Classiques 

de Noël. Handel: Messiah, choruses; Christmas 

carols; sing-along. Stewart Hall Singers; 

Douglas Knight, chef; Philip Crozier, piano. 

630-1220 

> 3pm. Église de la Purification B.V.M., 445 Notre- 

Dame, Repentigny. 20$. Série Art et Spiritualité. 

Concert de Noël. Noëls traditionnels; noëls inédits. 

Raphaëlle Paquette, soprano; Roxane 

Tessier-Ferland, hautbois; Bernard 

Ducharme, violon; Claudel Callender, 

piano. 450-581-2482 x3 

> 3pm. Église de la Visitation, 1847 boul. Gouin Est. 

LP. Concerts à la visitation. Salsa baroque. Musique 

d’Amérique latine et d’Espagne 17-18e siècles. 

Ensemble Caprice. 872-8749 

> 3pm. Église St-Esprit, 2851 Masson (angle 6e avenue). 

10-20$. Gloria!. Classiques de Noël en 

français, anglais et latin. Ensemble vocal 

Ganymède; Ensemble vocal de St-Laurent; 

Ensemble vocal Stakato; orgue, cuivres, 

timbales. 514 528 6302 

> 3pm. Église St-Laurent, 

805 boul. Ste-Croix, St-Laurent. 

20-25$. Charpentier: Messe 

de Minuit; traditionnels Nouvelle-France: 

chants de Noël. 

Choeur et Ensemble Radio-Ville-Marie; 

Simon Fournier, chef. 272-7455. 

> 3pm. PdA MSM. 19-81$. Série Grands Rendezvous. 

Handel: Messiah, HWV56. Les Violons du 

Roy; La Chapelle de Québec; Bernard 

Labadie, chef; Lydia Teuscher, Matthew 

White, James Taylor, Tim Mirfin. 842-2112, 

866-842-2112. (f Québec 8, 9) 

TRIO HOCHELAGA HOSTS JAMES CAMPBELL 

Violinist Anne Robert, cellist Paul Marleyn and pianist Stéphane 

Lemelin, aka Trio Hochelaga, gives a concert with well-known clarinettist 

James Campbell, playing Takamitsu, Ravel and Messiaen. Friday 

the 2, 7:30 p.m., Conservatoire de musique de Montréal, 

514-873-4031. www.conservatoire.gouv.qc.ca RB 

OPERA MEETS JUGGLING AT THE CHAPELLE 

At the Chapelle, Bande Artistique is putting on a show in which an 

innovative circus pairs juggling and opera! Designed to be familyfriendly 

by Marie-Claude Chamberland and Émile Carey, Parfois 

dans la vie, les choses changent will delight every generation. Saturday 

the 3, 2 p.m. 

As for chamber music, the Chapelle will host Suzanne Blondin 

and Olivier Godin playing Brahms dances for piano for four hands 

(Sunday the 4, 3:30 p.m.) and violinist Olivier Thouin and pianist 

François Zeitouni play Ravel, Fauré, Debussy and Franck (Thursday 

the 8, 8 p.m.). Pianist Matan Porat, winner of the Honens Prize 

in 2003, will perform works by Chopin, Scarlatti, Brahms, Bartók, 

Rameau, Rachmaninov and Scriabin on Sunday the 11 th , 3:30 p.m. 

La Chapelle will be on vacation during the holidays and reopen on 

January 25 th . www.ville.montreal.qc.ca/chapellebonpasteur 

RB 

BANDE ARTISTIQUE 

PREVIEWS 

TRIO HOCHELAGA 

PHOTO triohochelaga.com 

DECEMBER 2011 / JANUARY 2012 25 

PHOTO bandeartistique.com

PREVIEWS 

A GREAT LIEDER PERFORMER AT THE LMMC 

Mezzo-soprano Christianne Stotijn is the Ladies’ Morning Musical 

Club’s next guest. After obtaining a violin degree at the Amsterdam 

conservatory, she embarked on studies in voice in Metz, London, and 

Amsterdam. Stotijn has received multiple prizes. In 2007, she was the 

BBC New Generation Artist and her extensive discography has received 

multiple awards. She will debut at the LMMC with pianist 

Julius Drake. Schumann, Eisler and Mahler are on the program. Sunday 

the 4, 3:30 p.m., Pollack hall. www.lmmc.ca 

RB 

HEAVENLY BODIES AND A CLARINET 

QUINTET WITH THE OSM 

The OSM is giving a planet-themed concert where the spotlight will be 

on winds and voice thanks to The Planets by Holst. In this extremely 

famous suite, Holst creates an inspired and expressive description of 

the character and colour of each of the planets. It is also of note that 

the winner of the OSM Standard Life Competition is an invited soloist 

at this concert, which will take place at the Maison symphonique de 

Montréal on December 6 at 8 p.m. and on December 9 at 10:30 a.m. 

OSM musicians Ann Chow et Alison Mah-Poy (violin), Natalie 

Racine (viola), Sylvain Murray (cello) and Alain Desgagné (clarinet) 

are giving a chamber music concert on December 9 in the intimate 

setting of Bourgie hall. The ensemble will perform Weber’s Clarinet 

Quintet in B flat major, with its sublime melodic lines for the clarinet, 

and Brahms’ Clarinet Quintet in B minor, which truly gives the clarinet 

quintet its place among the most noble instrumental ensembles. 

www.osm.ca 

JV 

YOUNG PRIZE WINNERS GIVE 

TWO RECITALS NOT TO BE MISSED 

Violinist Marie-Ève Poupart, winner of the Concours du Prix d’Europe, 

and pianist Hui Chuan Chen will perform a program of Schubert, 

Ravel and Prokofiev on Sunday the 11, 3:30 p.m. Two violinists, 

Ana Drobac and Caroline Chéhadé, two-time winner of the John Newmark 

Prize at the Concours du Prix d’Europe, will perform works by 

Leclair, Haydn, De Bériot and Lipsky on Saturday the 10, 7:30, Conservatoire 

de musique de Montréal, 514-873-4031, ext. 228 RB 

THE OM PERFORMS BACH’S 

CHRISTMAS ORATORIO 

CHRISTIANNE STOTIJN 

& JULIUS DRAKE 

PHOTO Marco Borggreve 

This December, Bach is everywhere. On the 22, he will be given a place 

of honour by the Orchestre Métropolitain’s performance of his magnificent 

Christmas Oratorio. A cantata in six parts telling the Nativity 

story, the Christmas Oratorio is heart-warming, sweet, touching, 

and a piece that appeals to the soul. The OM and their choir will be 

joined by several young soloists: soprano Hélène Brunet, mezzo-soprano 

Aidan Ferguson, tenor Jacques-Olivier Chartier, and baritone 

Alexandre Dobson, all under the direction of Yannick Nézet-Séguin. 

Église Saint-Jean-Baptiste. www.orchestremetropolitain.com 

JV 

> 3:30pm. CMM SC. 10$. Les Rendez-vous du dimanche. 

Schubert: Sonate pour violon et piano, D. 

574; Ravel: Sonate pour violon et piano; Prokofiev: 

Sonate #1 pour violon et piano, op.80. Marie-Ève 

Poupart, violon; Hui-Chuan Chen, piano. 873- 

4031 

> 3:30pm. Théâtre des Deux-Rives, 30 boul. du Séminaire 

Nord, St-Jean-sur-Richelieu. 19-44$. Maestria. 

Noël à travers le monde. Angèle Dubeau et La 

Pietà, cordes. 888-443-3949 

> 4pm. Centre Leonardo da Vinci, Théâtre Mirella et 

Lino Saputo, 8370 boul. Lacordaire, St-Léonard. 

Tournée CAM. La nativité selon Bach. Bach: Oratorio 

de Noël, cantates 1-3. Orchestre Métropolitain; 

Pierre Tourville, chef; Choeur de l’Orchestre 

Métropolitain; Hélène Brunet, Aidan Ferguson, 

Jacques-Olivier Chartier, Alexander 

Dobson. 311. (f 17) 

> 4pm. ConcU OPCH. 20$. Mozart: Die Zauberflöte, ouverture; 

Tchaikovsky: Suite Lac des Cygnes, op.20; 

Guy Richer: Suite irlandaise; Bizet: L’Arlésienne, Suite 

#1. Orchestre Philharmonia Mundi de Montréal; 

Jean-Pascal Hamelin, chef. 344-9244 

> 4pm. École de musique Vincent-d’Indy, 628 chemin 

Côte-Ste-Catherine. EL. Concert de Noël. Rode: Étude 

#4; Wieniawsky: Étude #4; C.P.E. Bach: Symphonie, 

Wq.182 #2; Warlock: Capriol Suite; Jean & Nicolas 

Cousineau: Airs de Noël; Jean Cousineau: Airs folkloriques. 

Les Petits Violons; Jean Cousineau, 

dir. 274-1736 

> 4pm. Ogilvy Tudor. 100$. Concert bénéfice pour le 

choeur: Polyphonie sous le gui. Bach: Magnificat; 

Mendelssohn: Magnificat; Pachelbel: Magnificat; 

Pinkham: Magnificat. Choeur polyphonique de 

Montréal; musiciens de l’O.S. des jeunes de 

Montréal; Louis Lavigueur, chef; Steffi Dietz, 

Myriam Leblanc, Danielle Vaillancourt, 

Arthur Tanguay-Labrosse, John Giffen. 450- 

689-6009 

> 4pm. Wyman Memorial United Church, 513 Main St, 

Hudson. 10-20$. Concerto Della Donna. 975- 

5907. (h 7) 

> 4:15pm. ÉSJB CSL. EL, CV. Les Dominicales. Anne 

Robert, violon; Alain Gagné, piano. (Précède le 

service de 17h) 402-0314 

> 6pm. UdM-MUS SCC. EL. Oeuvres vocales et instrumentales. 

Classes de de Jean-Eudes Vaillancourt, 

musique de chambre, 

d’ensemble-claviers et d’accompagnement. 

343-6427 

> 7pm. ÉSJB CSL. 10$. Concert de Noël. Chopin, Muresianu, 

Milan; chants de Noël. Choeur La Muse; 

Ioana German, chef; Monica Hurdubei, 

piano; Marina Negruta, Diana Virlan, David 

Litwin, Catalin Stoleru, Jason Milan. 344 1572, 

884 6530 


Recital. Sarah Highland, bassoon. 398-4547 

> 8pm. Church of the Resurrection, 99 Mount Pleasant, 

Pointe Claire. 10-20$. Concerto Della Donna. 

975-5907. (h 7) 

Monday 12 

> 5pm. UdM-MUS B-421. EL. Classe de Claude 

Richard, violon. 343-6427 

> 5pm. UdM-MUS B-484. EL. Dominick Argento, Denis 

Gougeon, Mozart, Purcell, Vivaldi. Eugénie Préfontaine, 

soprano, chant. 343-6427 

> 7:30pm. UdM-MUS SCC. EL. SMCQ Série Hommage/Ana 

Sokolovic; Atelier. Ana Sokolovic: 

musique de chambre. Atelier de musique contemporaine 

de l’Université de Montréal; Lorraine 

Vaillancourt, chef. 343-6247 

> 7:30pm. UdM-MUS B-421. EL. Mozart, Beethoven, 

Chopin. Classe de Jimmy Brière, piano. 343-6427 

> 8pm. La Sala Rossa, 4848 St-Laurent. 12$. Innovations 

en concert. Luigi Nono: Fragmente-Stille, an 

Diotima; Robin Hayward: Grave Mountain Diagram. 

Quatuor Bozzini; Zinc & Copper Works. 284- 

0122 

> 8pm. PdA MSM. 28-56$. Pro Musica, série Émeraude 

. Beethoven: Quatuor à cordes, op.18 #4; Osvaldo 

Golijov: Kohelet (création); Schubert: Quatuor à 

cordes, op.161, D.887. Quatuor St.Lawrence, 

cordes. 842-2112, 845-0532 

> 8:30pm. UdM-MUS B-484. EL. Schulhoff, Bach, Messiaen, 

Feld, Heinz Holliger. Laura Bates, flûte. 

343-6427 

Tuesday 13 

> 1:30pm. Université de Montréal, campus Laval, 1700 

Jacques-Tétreault (angle boul. de l’Avenir; métro 

Montmorency), Laval. 12$. Matinées d’Opéramania 

Laval. Eugène Onéguine. 790-1245, 343-6479. (h 

6) 

> 2pm. Maison de la culture Ahuntsic-Cartierville, 

10300 Lajeunesse, 1er étage. LP. Les Enchanteurs. 

Cantiques de Noël. Rebecca Klein, soprano; Milia 

Berkin, mezzo; Adam Goulet, ténor; François 

Ouimet, basse. 872-8749 

> 4:30pm. UdM-MUS SCC. EL. Reinecke, Paulo Costa Lima, 

Bach, Jolivet. Clara Rodrigues, flûte. 343-6427 

> 5pm. UdM-MUS B-484. EL. Mendelssohn, Sarasate, 

Schumann, Bach, John Rea. André Anne Marion, 

violon. 343-6427 

> 6:30pm. UdM-MUS SCC. EL. Bach, Haydn, Schumann, 

Debussy, Prokofiev. James Coghlin, piano. 343- 

6427 

> 7:30pm. UdM-MUS B-484. EL. Classe de Jean-Marc 

Bouchard, improvisation, divers instruments. 

343-6427 

> 7:30pm. UdM-MUS B-421. EL. Weber, Mozart, Debussy, 

Poulenc. Classe de Jean-François Normand, 

clarinette. 343-6427 

> 8:30pm. UdM-MUS SCC. EL. Liszt, Schubert, Prokofiev, 

Ravel. Ryan Kolodziej, piano. 343-6427 

Wednesday 14 

> 1:30pm. Université de Montréal, campus Longueuil, 

101 place Charles-Lemoyne, bureau 209 (face au 

métro Longueuil), Longueuil. 12$. Matinées 

d’Opéramania Longueuil. Tamerlano. 790-1245, 

343-6479. (h 7) 

> 5pm. UdM-MUS B-421. EL. Classe de Maneli 

Pirzadeh, piano. 343-6427 

> 6pm. UdM-MUS SCC. EL. Classe de Mark Pedrotti, 

chant. 343-6427 

> 7:30pm. UdM-MUS B-421. EL. Classe d’André 

Moisan, clarinette. 343-6427 


Recital. M. Gillian Carrabre, violin. 398-4547 

Thursday 15 

> 11am. Ogilvy Tudor. 22-32$. Série Ogilvy. Splendeurs 

baroques. Purcell: Didon et Énée, ouverture; Jenkins: 

Pavan; Handel: Concerto grosso, op.6 #7; Vivaldi: 

Concerto #4, op.8 “L’inverno”; C.P.E. Bach: Symphonie 

#3, Wq.192; Boyce: Ode for the New Year 1756, 1er 

mouvement; Michael Oesterle: Divinité excentrique. 

I Musici de Montréal; Joël Thiffault, chef; Julie 

Triquet, violon; Grégoire Jeay, traverso. 982- 

6038. (f 17 + 16 17) 

> 5:45pm. Ogilvy Tudor. 22-32$. Série Ogilvy. I Musici, 

Splendeurs. 982-6038. (h 11) 

> 6pm. UdM-MUS B-484. EL. Hindemith, Walton, 

Brahms, Vieuxtemps, Bach, Sid Robinovich. Classe 

de Jutta Puchhammer, alto. 343-6427 

> 7:30pm. UdM-MUS B-421. EL. Classe de Paul Marcotte, 

cor. 343-6427 

> 8pm. Église Ste-Famille, 560 boul. Marie-Victorin, 

Boucherville. 25$. Noël à Versailles. Charpentier: 

Messe de minuit sur des airs de Noël; Te Deum; Lalande: 

Quam dilecta; Corrette: Laudate Dominum. 

Ensemble vocal Polymnie; O.S. des jeunes de 

Montréal; Louis Lavigueur, chef; Cécile 

Muhire, Odéi Bilodeau, Danielle Vaillancourt, 

Mathieu Abel, John Giffen. 450-449-0758. (f 17) 

> 8pm. UdM-MUS SCC. 

24-35$. Musique, théâtre. Les démons 

des bois de Vienne. Schoenberg: 

La Nuit transfigurée, op.4; 

Schubert: La Jeune Fille et la Mort. 

Orchestre Nouvelle Génération; Airat Ichmouratov, 

chef; Le Théâtre Deuxième Réalité. 

587-2477. 

Friday 16 

> 11am. Ogilvy Tudor. 22-32$. Série Ogilvy. I Musici, 

Splendeurs. 982-6038. (h 15) 

> 4pm. UdM-MUS B-421. EL. Gabriel Parès, David 

Désilets, Telemann, Kent Kennan. Ralph Leclerc, 

trompette. 343-6427 


Splendeurs. 982-6038. (h 15) 

> 7pm. UdM-MUS B-421. 9$. Opéramania (projection 


Handel: Messiah. Susan Gritton, Cornelia 

Horak, Bejun Mehta, Richard Croft, 

Florian Boesch; Jean-Christophe Spinosi, 

chef. 343-6479 

> 7pm. UdM-MUS B-484. EL. Bach, Villa-Lobos, Jacques 

Hétu, F. Martin, Turina, Pujol, Moraíto Chico. 

Philippe Jean, guitare. 343-6427 

> 7:30pm. PdA MSM. 35$. Noël conté par Fred Pellerin. 

Musique québécoise, chants traditionnels, classiques 

du temps des Fêtes. O.S. de Montréal; 

Kent Nagano, chef; Fred Pellerin, conteur. 

(complet) 842-9951. (f 17) 

> 8pm. Collège de Maisonneuve Cégep, Salle Sylvain- 

Lelièvre, 2701 Nicolet (angle Sherbrooke Est). 

Tournée CAM. La nativité selon Bach. Bach: Oratorio 

de Noël, cantates 4-6. Orchestre Métropolitain; 

Pierre Tourville, chef; Choeur de l’Orchestre 

Métropolitain; Hélène Brunet, Aidan Ferguson, 

Jacques-Olivier Chartier, Alexander 

Dobson. 872-2200. (f 18) 


of Music, student concerts. Big Band 

(class of Dave Turner). 848-4848 

> 8pm. ÉGesù. 25$. La Nativité selon Marie. Christine 

Donkin, Duruflé, Ravenello. Chorale du Gesù; Patricia 

Abbott, chef; Marion, soprano; Aurélie 

Brunelle, danse; Marie Roberge, conteuse. 

861-4036. (f 17) 

> 8pm. Église Ste-Rose-de-Lima, 219 boul. Ste-Rose, 

Laval. 10$. Tchaïkovski: Le Lac des cygnes. Orchestre 

Philharmonique Équitable; André 

Gauthier, chef. 438-876-8673 

> 8:30pm. UdM-MUS SCC. EL. Britten, Bach, Rochberg, 

Enescu. Esme Allen Creighton, alto. 343-6427 

> 8:30pm. UdM-MUS B-484. EL. Bach, R. Sainz de la 

Maza, E. Sainz de la Maza, Denis Gougeon, Dioniso 

Aguado, Roland Dyens. Jonathan Boudreault, 

guitare. 343-6427 

Saturday 17 

> 1pm. Ciné-Met MTL2. 19-26$. MetOp_HD, Encore. 

Mozart: Don Giovanni (durée approx. 4h). Fabio 

Luisi, cond.; Marina Rebeka, Barbara Frittoli, 

Isabel Leonard, Matthew Polenzani, Ramón 

Vargas, Peter Mattei, Mariusz Kwiecien, Ger- 

26 


ald Finley, Luca Pisaroni, John Relyea. (f 17 

Québec; 17 Elsewhere in QC; 17 Ottawa-Gatineau) 

> 2pm. Ogilvy Tudor. 22-32$. Série Ogilvy. I Musici, 

Splendeurs. 982-6038. (h 15) 

> 3pm. Église de St-Donat, 475 Principale (route 125), 

St-Donat. EL. OSJM, Polymnie, Noël. 645-0311. (h 

15) 

> 7:30pm. PdA MSM. 35$. OSM, Pellerin, Noël. 

(complet) 842-9951. (h 16) 

> 7:30pm. St. James the Apostle Anglican Church, 

1439 Ste-Catherine Ouest. 12-17$. Jacquet de la 

Guerre: Samson; Bach, Vivaldi: arias; D. Scarlatti, 

Pandolfi Mealli, Matteis. Trio Les Folies baroques. 

803-6646. (f 18) 

> 7:30pm. ThOutremont. Tournée CAM. OM, Bach 

Noël 1-3. 495-9944. (h 11) 

> 7:30pm. UdM-MUS B-484. EL. Schumann, Franck, 

Bartok, Cassado. Classe d’Eleonora Turovsky, 

violon; classe de Yuli Turovsky, violoncelle. 

343-6427 

> 8pm. ÉGesù. 25$. Chorale du Gesù. 861-4036. 

(h 16) 

> 8pm. Église Ste-Famille, 560 boul. Marie-Victorin, 

Boucherville. 0-20$. De tous temps, en tous lieux, 

Noël. Britten: A Ceremony of Carols; chants de Noël 

de différents pays. Choeur Amabilis; Richard 

Ducas, chef; Mélanie Barney, orgue, piano. 

450-448-7048. (f 18) 

> 8pm. McGU(mc) RED. FA. Master’s Recital. Veronica 

Han-Sol Lee, viola. 398-4547 

> 8pm. St. Matthias 

Anglican Church, 131 chemin 

Côte-St-Antoine (angle Metcalfe), 

Westmount. 10-20$. 

Komitas: Armenian liturgical 

pieces; Arvo Pärt: I am the true vine; Eric Whitacre: 

Lux Arumque; Peter Togni: Suma de la perfección. 

The Orpheus Singers; Peter Schubert, cond. 

846-8464. 

> 8pm. Théâtre Hector-Charland, 225 boul. l’Ange- 

Gardien, L’Assomption. 35-37$. Série Musique du 

Monde. Album: Havana Angels. Florence K, voix; 

jeunes musiciens cubains. 450-582-6714 

> 8pm. ThOutremont. 20$. La nativité selon Bach. 

Bach: Oratorio de Noël. Orchestre Métropolitain; 

Choeur de l’OM; Yannick Nézet- 

Séguin, chef. 495-9944 

Sunday 18 

> 10:45am. SASP. CV. 4e dimanche de l’Avent. Bruhns: 

Nun komm, der Heiden Heiland; Willcocks (arr.): 

Gabriel’s Message; Howells: Magnificat “Collegium 

Regale”; Buxtehude: Magnificat primi toni, BuxWV 

209. Choeur de St. Andrew and St. Paul; Jordan 

de Souza, chef; Jonathan Oldengarm, 

orgue. 842-3431 

> 1pm. MBAM SBou. 10$. Les Dimanches-familles 

en musique. Un Conte de Noël, d’après Charles Dickens. 

Airs traditionnels de Noël d’Angleterre et de 

France. Pierre-Alexandre Saint-Yves, voix, 

flûte, rauschpfeife, vielle à roue; Andrew 

Wells-Overegger, voix, bouzouki, cornemuse, 

guitare, percussion; Chloé 

Dominguez, voix, violoncelle baroque; Isabeau 

Proulx Lemire, comédien. (Concert en 

français) 285-2000 x4, 800-899-6873. (f 15) 

> 2pm. Église Marie-Reine-de-la-Paix, 11075 boul. 

Gouin Ouest, Roxboro. Tournée CAM. OM, Bach 

Noël 4-6. 624-1100. (h 16) 

> 2pm. Église St-Édouard, St-Denis & Beaubien. 15$. 

Vox, natali domini. 337-8227. (h 10) 

> 2pm. Théâtre Hector-Charland, 225 boul. l’Ange- 

Gardien, L’Assomption. 38$. Série Sinfonia Pop. 

Sinfonia Lanaudière, Corbisiero, Quilico. 

450-589-9198. (h 11) 

> 2:30pm. Église Ste-Famille, 560 boul. Marie-Victorin, 

Boucherville. 0-20$. Choeur Amabilis. 

450-448-7048. (h 17) 

> 3pm. CCPCSH. LP. Rendez-vous de dimanche. 

Folies baroques. 630-1220. (h 17) 

> 3pm. ÉGesù. 20$. D’Aquin: Noëls pour orgue (intégrale). 

François Zeitouni, orgue. 861-4378 

> 3pm. Église St-Léon de Westmount, 4311 Maisonneuve 

Ouest (métro Atwater). 10-45$. Les cuivres 

de Noël. Gabrieli. Studio de musique ancienne 

de Montréal; Christopher Jackson, chef. 

861-2626 


15$. Chantons Noël. Poulenc, Donald Patriquin, 

Bach, Morten Lauridsen, David Willcocks, Vaughan 

Williams, Elgar, Rachmaninoff, Bertrand Guay, 

Gilles Vigneault (arr. Marc O’Reilly), Kirkpatrick (arr. 

Elmer Iseler), Yvan Pronovost, Eric Whitacre, 

Claude Léveillée. Choeur des Jeunes du 

Québec 2011; Pierre Barrette, chef. 450-466- 

1457 

> 3pm. MBAM SBou. 10$. Les Dimanches-familles 

en musique. Noël d’après Dickens. (Concert en 

anglais) 285-2000 x4, 800-899-6873. (h 13) 

> 4pm. UdM-MUS B-484. EL. Prokofieff, Dutilleux, 

Enesco, Doppler, Schubert. Classe de Lise 

Daoust, flûte. 343-6427 

> 4:15pm. ÉSJB CSL. EL, CV. Les Dominicales. Maneli 

Pirzadeh, piano. (Précède le service de 17h) 

402-0314 

> 7pm. ÉSJB. 25-35$. Bach: Oratorio de Noël, BWV 

248. Choeur classique de Montréal; Ensemble 

Sinfonia de Montréal; Louis Lavigueur, 

chef; Pascale Beaudin, Claudine Ledoux, 

Michiel Schrey, Pierre-Étienne Bergeron. 

659-9546, 737-5364 

> 7:30pm. SASP. CV. Carols by Candlelight. Cantiques 

traditionnels (Europe, Canada, ÉU). Choeur de St. 

Andrew and St. Paul; Jordan de Souza, chef; 


> 7:30pm. UdM-MUS B-484. EL. Bach, Giuliani, Torroba. 

Classe de Peter McCutcheon, guitare. 

343-6427 

> 9pm. La Sala Rossa, 4848 St-Laurent. 12$. Innovations 

en concert. Missy Mazzoli: Dissolve O My 

Heart; A Thousand Tongues; Nico Muhly: Diacritical 

Marks; Stride; Richard Reed Parry: Quartet for 

Heart and Breath; Malcolm Sailor: Steve Day- 

Lieder ohne Worte. Warhol Dervish; The Youjsh. 

284-0122 

Monday 19 

> 3:30pm. CMM SC. 10$. Les Grands Ensembles. 

Poètes et musiciens français 16-21e siècles. 

Choeur du Conservatoire; Louis Lavigueur, 

chef. 873-4031 

> 4:30pm. UdM-MUS SCC. EL. Tomasi, Jacques 

Castérède, Wagner, Eric Ewazen, Désilets. 

Maxime Pagé, trombone. 343-6427 

> 6:30pm. UdM-MUS SCC. EL. Villa-Lobos, Leo 

Brouwer, Rodrigo, Giuliani, Boccherini. Fabio 

Queiroz, guitare. 343-6427 

> 7:30pm. UdM-MUS B-484. EL. Bach. Classe de Réjean 

Poirier, piano. 343-6427 

> 8:30pm. UdM-MUS SCC. EL. Bach, Mozart, Brahms. 

Gregor Monlun, violon. 343-6427 

Tuesday 20 

> 6:30pm. UdM-MUS SCC. EL. Brahms, Ravel. Andrey 

Manulik, piano. 343-6427 

> 7:30pm. UdM-MUS B-484. EL. Classe de Vladimir 

Landsman, violon. 343-6427 

Wednesday 21 

> 7:30pm. PdA MSM. 35$. Handel: Messiah (orch. 

Mozart). O.S. de Montréal; Choeur de l’OSM; 

John Oliver, chef; Lucia Cesaroni, Emma 

Parkinson, Isaiah Bell, Stephen Hegedus. 

842-9951. (f 22) 

> 7:30pm. Première Église évangélique arménienne 

St-Gaëtan, 11455 Drouart (2 rues au nord d’Henri- 

Bourassa, coin L’Acadie). 8-16$. Bach: Oratorio de 

Noël. Orchestre Métropolitain; choeur de 

l’OM; Pierre Tourville, chef; 4 solistes. 872- 

8749 

> 8:30pm. UdM-MUS SCC. EL. François Morel (création), 

Alan Belkin (création), Liszt, Schubert, Scriabine. 

Philippe Prud’homme, piano. 343-6427 

Thursday 22 

> 11am. CMM SC. 20-10$. SMCQ Série 

Hommage/Ana Sokolovic. Conte musical. Ana 

Sokolovic: Ambient V; Gaétan Leboeuf: Le réparateur 

de Noëls (création); Mozart: Quatuor pour 

hautbois, K.370. Ensemble Chorum; Jean- 

Michel Malouf, chef; Gaétan Leboeuf, récitant. 

873-4031 

> 7:30pm. ÉSJB. 21-57$. La nativité selon Bach. Bach: 

Oratorio de Noël. Orchestre Métropolitain; 

Yannick Nézet-Séguin, chef; Choeur de 

l’Orchestre Métropolitain; Hélène Brunet, 

Aidan Ferguson, Jacques-Olivier Chartier, 

Alexander Dobson. 842-2112 

> 7:30pm. PdA MSM. 35$. OSM, Messiah. 842-9951. 

(h 21) 

Friday 23 

> 8pm. Chapelle Notre-Dame-de-Bon-Secours, 400 

St-Paul Est. CV. Bach: cantates de Noël, BWV 63, 91, 

110. Ensemble Da Capo; Jean-Pierre Brunet, 

chef; orchestre. 523-0796 

Saturday 24 

> 8:30pm. ÉGesù. EL. Concert et messe de Noël. Adam, 

Aubanel, Bach, Rheinberger, Dominique Roy. 

Chorale du Gesù; Patricia Abbott, chef; 

François Zeitouni, orgue. 861-4378 

> 10:45pm. SASP. CV. Célébration solennelle de la Veille de 

Noël. Franck: Pastorale, op.19; Widor: Symphonie gothique, 

op.70: Finale; cantiques traditionnels; etc. Choeur 

de St. Andrew & St. Paul; Jordan de Souza, chef; 


Sunday 25 

> 10:45am. SASP. CV. Célébration solennelle du jour de 

Noël. Reger: Weihnachten, op.145 #3; Quef: Noël 

Parisien. Soliste du choeur; Jonathan Oldengarm, 

orgue. 842-3431 

Wednesday 28 

> 11am. Ciné-Met MTL3. 5-10$. MetOp_HD, Special 

Holiday Encores. Mozart: Die Zauberflöte 

(1h52min). Nathan Gunn, etc.; James Levine, 

chef. (f 2 4/1 Montréal; 28/12 Ottawa-Gatineau) 

> 2pm. MBAM SBou. 15-30$. Le Temps des Fêtes en 

musique. Musique et danse en Nouvelle-France. Lully, 

Charpentier, Chambonnières, Montéclair, Boismortier. 

Les Idées heureuses; Olivier Brault, 

chef; Marie-Nathalie Lacoursière, danse 

baroque. 285-2000 x4, 800-899-6873. (f 29) 

Thursday 29 


Holiday Encores. Humperdinck: Hansel und Gretel 

(English subtitles). Alice Coote, Christine 

QUEBEC CITY 

OPÉRA DE QUÉBEC GALA 

The Opéra de Québec Gala 

is for one and for all, from 

seasoned opera connoisseurs 

to beginners wishing 

to get acquainted with the 

style. The event will take 

place on December 8 on this, 

its ninth consecutive year. 

Guest conductor John 

Keenan will direct Canadian 

and Quebecois singers along 

with the OdQ Choir and the 

Orchestre symphonique de 

Québec in the most beautiful 

operatic tunes at the 

Grand Théâtre de Québec. 

The profits of the event will go towards the OdQ’s production and development 

activities. www.grandtheatre.qc.ca 

JV 

CHRISTMAS WITH LES VIOLONS DU ROY 

What would Christmas be without 

its great holiday classics? Les Violons 

du Roy are offering their version 

of Handel’s monumental 

Messiah again this year, on December 

8 and 9. This production has 

been praised by The New York 

Times as “the best [they had] heard 

in years.” With Lydia Teuscher, soprano, 

Matthew White, alto, James 

Taylor, tenor, Tim Mirfin, bass. At 

La Chapelle de Québec. 

On December 17, the ensemble 

will be accompanied by contralto 

Marie-Nicole Lemieux, one of the 

most acclaimed personalities in Quebec music. The program, directed 

by Eric Paetkau, is made up of Christmas songs and pieces from the 

Baroque repertoire. Among others, Telemann’s Overture in F major 

“à la Pastorelle” and songs for alto voice taken from Bach’s Christmas 

Oratorio and cantatas will be heard. www.palaismontcalm.ca JV 

EARLY TEXTURES AND TIMBRES 

Experience the early timbres and textures of a Baroque Christmas. On 

December 11, the trio Les enlumineuses, formed by Anne-Hélène 

Chevrette (violin), Marie-Noëlle Harvey (viola) and Nathalie Gagnon 

(harpsichord), all Baroque music enthusiasts, presents its performance. 

“Early Christmases” is a concert born of the discovery of a book 

of Baroque Christmas carols found in France by the harpsichordist’s 

father. Salle Montaigne on the Charlesbourg campus of Cégep 

Limoilou, 418-641-6044 

JV 

EDGAR AND HIS GHOSTS 

PREVIEWS 

Coloratura soprano 

MARIE-EVE MUNGER will 

perform at the gala 

MARIE-NICOLE LEMIEUX 

PHOTO Denis Rouvre 

With Vincent Bilodeau as Bach, Sylvain Massé as Beethoven, André 

Robitaille as Mozart, Jean Marchand as Éric Satie and 25 musicians 

brought together onstage, you will be spirited away to the fascinating 

worlds of larger-than-life musicians. A mysterious and fantastical performance, 

both touching and funny, that will acquaint you with classical 

music and the life of its composers. Normand Chaurette wrote the 

script, Normand Chouinard is director and the whole performance is 

produced by Jean-Pascal Hamelin. December 20, 21, 22 and 23, salle 

Louis-Fréchette. www.grandtheatre.qc.ca 

JV 


2011 

DECEMBER 

in 

QUEBEC 

TO LIST YOUR EVENTS IN THIS CALENDAR : 

514-948-2520 

Calendar entries of the Conseil québécois 

de la musique members are made 

possible by CAM. 

SUNDAY 

EMCN, Matinée de Noël, musique variée, élèves et 

professeurs de l’École de Musique Côte-Nord, 14 

h, Foyer, Centre des arts de Baie-Comeau, 418 

296-6428. 

OSDL, Concert de Noël, Cantiques de Noël, Marc 

David (chef), Patsy Gallant, Orchestre symphonique 

des jeunes de la Montérégie, 14 h, Salle 

Pratt & Whitney Canada, Longueuil, 450 463- 

7181 

OSTR, Fantaisie sur Noël, Valérie Milot, harpe, Antoine 

Bareil, violon, 14 h, Foyer de la salle J.-Antonio-Thompson, 

Trois-Rivières, 1 866 416-9797 

QM, Suite lyrique, Schulhoff, Rihm, Berg, 15 h, 

Conservatoire de Montréal, Montréal, 514 527- 

5515 

LMMC, Schumann, Eisler, Mahler, Christianne Stotijn, 

mezzo-soprano, Julius Drake, piano, 15 h 30, 

Salle Pollack, Montréal, www.lmmc.ca 

Buzz, Concert de Noël, Rutter, Pinkham, Dastous, 

Cuivres et Chœur de l’Université de Sherbrooke, 

16 h, Église Saint-Jean Bosco, Magog, www.buzzcuivres.com 

OSDL, Concert-bénéfice de la Fondation Jean de la 

Mennais , Cantiques de Noël, M. David (chef), M.- 

J. Lord soprano, chorale du Collège Jean de la 

Mennais, 19 h 30, Église de la Nativité de la 

Sainte-Vierge, La Prairie, 450 659-7657, p. 2339 

3 

MONDAY 

OUM with Jean-François Rivest, 

salle Claude-Champagne, 7 p.m. 

www.musique.umontreal.ca 

OSL, Noël en chœur, Haendel, Bach et œuvres traditionnelles 

de saison, Chœur Vox lumina et Chœur 

des écoles Vaillancourt et Des Cèdres, 20 h, Salle 

André-Mathieu, Laval, 450 667-2040 

5 & 6 

TUESDAY 

OSL A Choral Christmas, 

8 p.m. at Salle André- 

Mathieu, Laval 

OSL, Noël en chœur, Haendel, Bach et œuvres traditionnelles 

de saison, Chœur Vox lumina et Chœur 

des écoles Vaillancourt et Des Cèdres, 20 h, Salle 

André-Mathieu, Laval, 450 667-2040 

OSQ, Casse-Noisette, Alan Lewis, Les Grands Ballets 

canadiens de Montréal, 14 h et 19 h 30, 

Grand Théâtre de Québec, Québec, 418-643-8131 

LEGEND 

ACIFUENTES 

Alejandra Cifuentes Diaz 

AMALGAMME 

Diffusion Amal’Gamme 

APPASSIONATA Orchestre de chambre Appassionata 

BUZZ 

Buzz cuivres 

CLUBMQC 

Club musical de Québec 

ÉMCN 

École de Musique Côte-Nord 

FAM 

Fondation Arte Musica 

FD 

Fred-Demers.com 

JL 

Jean Ladouceur 

IEC 

Innovations en concert 

LDT 

Lorraine Desmarais Trio 

LMAM 

Le Moulin à musique 

LMMC 

Ladies’ Morning Musical Club 

MASQUES 

Masques 

NEM 

Nouvel Ensemble Moderne 

OSDL 

Orchestre symphonique de Longueuil 

OSL 

Orchestre symphonique de Laval 

OSTR Orchestre symphonique de Trois-Rivières 

OUM 

Orchestre Université de Montréal 

PALMTCALM 

Palais Montcalm 

PENTAÈDRE 

Pentaèdre 

OSQ 

Orchestre symphonique de Québec 

QBOZZINI 

Quatuor Bozzini 

QFRANZJOSEPH 

Quatuor Franz Joseph 

QM 

Quatuor Molinari 

SAVM 

Société d’art vocal de Montréal 

SINFONIA 

Sinfonia de Lanaudière 

SMAM Studio de musique ancienne de Montréal 

VROY 


SINFONIA, Concert de Noël, 14 h, Centre Culturel de 

Joliette, Salle Rolland-Brunelle, Joliette, 450 759- 

6202 

OSTR, Noël avec André Gagnon et l’Orphéon, 

Jacques Lacombe (chef), André Gagnon, L’Orphéon 

de Trois-Rivières, 14 h 30, salle J.-Antonio- 

Thompson, Trois-Rivières, 1 866 416-9797 

VROY, Le Messie, 15 h, Maison symphonique de 

Montréal, Montréal, 514 842-2112, 1-866-842- 

2112 

FAM, Les Dimanches-familles en musique, Un Conte 

de Noël, 13 h, Salle Bourgie, Montréal, 514 285- 

2000, p. 4 

EMCN, Noël 2011!, musique variée, élèves et professeurs 

de l’École de Musique Côte-Nord, 14 h, 

Salle Théâtre, Centre des arts de Baie-Comeau, 

418 296-6428 

SINFONIA, Concert de Noël, 14 h, Théâtre Hector- 

Charland, L’Assomption, 450 589-9198, p. 5 

FAM, Les Dimanches-familles en musique, Un Conte 

de Noël, 15 h (anglais), Salle Bourgie, Montréal, 

514 285-2000, p.4 

LMAM, Gros Paul, Maison de la culture Notre- 

Dame-de-Grâce, 15 h, 514 872-2157 

SMAM, Les cuivres de Noël, Giovanni Gabrieli, 15 h, 

église Saint-Léon-de-Westmount, Montréal, 514 

861-2626 

IEC, Warhol Dervish et The Youjsh en concert, Nico 

Muhly, Missy Mazzoli, Malcolm Sailor, 21 h, Sala 

Rossa, Montréal, director@innovationsenconcert.ca 

IEC, Quatuor Bozzini et Zinc & Copper Works en 

concert, Luigi Nono, Robin Hayward, 20 h 30, Sala 

Rossa, Montréal, director@innovationsenconcert.ca 

SUBSCRIBE 

NOW AT 

www.scena.org 

28 


WEDNESDAY THURSDAY FRIDAY SATURDAY 

PENTAÈDRE, Schubertiades - formule bouchées/vin, 

J. Brahms, F. Lachner, L. Thuille, L. van Beethoven, 

A. Zemlinsky, C. Schumann, F. Schubert, R. 

Schumann, 17 h, Salle Tudor - Ogilvy, Montréal, 

514 270-2558 

FAM, Les 5 à 7 en musique, Jean Derome, 18 h, 

Salle Bourgie, Montréal, 514 285-2000, p. 4 

UdM, BigBand de l’UdeM, Maria Schneider, compositrice 

et chef d’orchestre, 19 h 30, Salle Claude- 

Campagne, Montréal, 514 343-6427 

OSDL, Noël tout en splendeur, Cantiques de Noël, 

Marc David (chef), Marie-Josée Lord, soprano, 

Chorale Les Mélodistes, 20 h, Salle Pratt & Whitney 

Canada, Longueuil, 450 670-1616 

PENTAÈDRE, Schubertiades - formule 

chocolats/porto, J. Brahms, F. Lachner, L. Thuille, 

L. van Beethoven, A. Zemlinsky, C. Schumann, F. 

Schubert, R. Schumann, 20 h, Salle Tudor - 

Ogilvy, Montréal, 514 270-2558 

APPASSIONATA, Autour de Schubert et Strauss, 

Lehàr, Michelle Sutton mezzo-soprano, Sarkis 

Barsemian ténor, Ewald Cheung violon, 20 h, 

Église Saint-Joachim, Pointe-Claire, 514 630- 

1220 


canadiens de Montréal, 19 h 30, Grand 

Théâtre de Québec, Québec, 418-643-8131 

OUM, La Symphonie dans tous ses états, Sokolovic, 

Messiaen, Schubert, Jean-François Rivest au pupitre, 

19 h 30, Salle Claude-Champagne, Montréal, 

514 343-6427 

PALMTCALM, John Mayall, 20 h, Salle Raoul-Jobin 

du Palais Montcalm, Québec, 418 641-6040 


canadiens de Montréal, 14 h et 19 h 30, 

Grand Théâtre de Québec, Québec, 418-643-8131 

10 

Orchestre métropolitain 

Conductor Daniel Myssyk, 

February 10 2012 at Pointe- 

Claire at l’Église Saint-Joachim 


canadiens de Montréal, 19 h 30, Grand 

Théâtre de Québec, Québec, 418-643-8131 

NEM, Concert autour des cordes, 5 jeunes compositeurs, 

Martin Matalon, Yannick Chênevert, contrebasse, 

Lorraine Vaillancourt, chef, 20 h, Chapelle 

historique du Bon-Pasteur, Montréal, 514 343- 

5636 

OSDL, Concert de Noël de la CSMV, Cantiques de 

Noël, M. David (chef), Chorale Les Petits-Explorateurs, 

vhorale école sec. Saint-Edmond, 20 h, 

Église de Saint-Hubert, 450 463-7065, 450 670- 

0730, p 2043 

VROY, Le Messie, 20 h, Salle Raoul-Jobin, Palais 

Montcalm, Québec, 418 641-6040, 1-877-641- 

6040 

OSQ, Gala d'Opéra, J. Keenan, J. Bouchard, D. Côté, 

L. Fortin, K. Geddes, M. Hervieux, R. Huard, M.-J. 

Lord, R. Paquette, S. Racine, M.-È. Munger, L. Robert, 

E. Ernesto Ramirez, 19 h 30, Grand Théâtre 

de Québec, Québec, 418-643-8131 

FAM, Tableaux en musique, Musiciens de l’OSM, 18 

h 30, Salle Bourgie, Montréal, 514 285-2000, p. 4 

VROY, Le Messie, 20 h, Salle Raoul-Jobin, Palais 

Montcalm, Québec, 418 641-6040, 1-877-641- 

6040 

PALMTCALM, Un conte de Noël, Monsieur Scrooge 

(JMC), 15 h, Salle D’Youville du Palais Montcalm, 

Québec, 418 641-6040 

OSDL, Concert-bénéfice de la Fondation des comités 

d'entraide de Brossard, Cantiques de Noël, M. 

David (chef), P. Gallant, M. Angers, violon, chorale 

Les Mélodistes, 20 h, L'Étoile Banque Nationale, 

Brossard, 514 967-2050 

JL, Jean Ladouceur, 18 h Église Saint-Pierre-Apôtre, 

Montréal, 514-524-3791 

LDT, Jazz pour Noël, Jean-Pierre Zanella, Camil Bélisle 

et Frédéric Alarie, 20h30, Upstairs Jazz Club, 

Montréal, 514 931-6808 


et Frédéric Alarie, 22h15, Upstairs Jazz Club, 

Montréal, 514 931-6808 

OSQ, La Grande Virée de Noël, S. Laforest, G. 

Charles, M.-J. Lord, N. Pellerin et les Grands Hurleurs, 

Maîtrise des Petits Chanteurs de Québec, 

Chœur de l’OSQ, Chœur Notre-Dame de l’Annonciation 

de l’Ancienne-Lorette, Chœur de l’Isle 

d’Orléans, Chœur Les Rhapsodes, Chœur de la 

Colline, Chœur La-Mi-Sol, 20 h, Pavillon de la 

Jeunesse d'ExpoCité, Québec, 418-643-8131 

VROY, Marie-Nicole Lemieux et Bach pour Noël, 20 

h, Salle Raoul-Jobin, Palais Montcalm, Québec, 

418 641-6040, 1-877-641-6040 


et Frédéric Alarie, 20 h 30, Upstairs Jazz 

Club, Montréal, 514 931-6808 


et Frédéric Alarie, 22 h 15, Upstairs Jazz 

Club, Montréal, 514 931-6808 

OSQ, La Grande Virée de Noël, S. Laforest, G. 

Charles, M.-J. Lord, N. Pellerin et les Grands Hurleurs, 

Maîtrise des Petits Chanteurs de Québec, 

Chœur de l’OSQ, Chœur Notre-Dame de l’Annonciation 

de l’Ancienne-Lorette, Chœur de l’Isle 

d’Orléans, Chœur Les Rhapsodes, Chœur de la 

Colline, Chœur La-Mi-Sol, 13 h 30, Pavillon de la 

Jeunesse d'ExpoCité, Québec, 418-643-8131 

FAM, Le Temps des Fêtes en musique, Musique et 

danse en Nouvelle-France, 14 h, Salle Bourgie, 

Montréal, 514 285-2000, p. 4 

FAM, Le Temps des Fêtes en musique, Musique et 

danse en Nouvelle-France, 14 h, Salle Bourgie, 

Montréal, 514 285-2000, p. 4 


TUESDAY 

WEDNESDAY 

THURSDAY 

FRIDAY 

SATURDAY 

2012 

JANUARY 

QUEBEC 

in 

CLUBMQC, Susan Graham, 

mezzo-soprano, Malcom Martineau, 

pianiste, 20 h, Grand 

Théâtre de Québec, 418 643- 

8131 ou 1-877- 

SUNDAY 

MONDAY 

FAM, Les 5 à 7 en musique, Ensemble 

Magillah, 18 h, Salle 

Bourgie, Montréal, 514 285- 

2000, p. 4 

AMALGAMME, Rétrospective et 

renouveau, Quatuor Aveladeen, 

R. Cyr, B. Chaput, B. 

Ouellette et R. Bouliane, 20 

h, Salle de spectacle église 

St-François-Xavier, Prévost, 

www.diffusionsamalgamme.com 

VROY et FAM, Maurice Steger en 

rappel, 19 h 30, Salle de 

concert Bourgie, Musée des 

beaux-arts de Montréal, 

Montréal, 514 285-2000, p. 4 

VROY et FAM, Maurice Steger en 

rappel, 14 h, Salle de concert 

Bourgie, Musée des beauxarts 

de Montréal, Montréal, 

514 285-2000, p. 4 

FAM, Tableaux en musique, Mathieu 

Gaudet, 18 h 30, Salle 

Bourgie, Montréal, 514 285- 

2000, p. 4 

AMALGAMME, Sergeï Trofanov 

en spectacle, Sergeï Trofanov, 

violon et voix, Vladimir 

Sidorov, bayan et Olga Trofanova, 

claviers, 20 h, Salle de 

spectacle église St-François- 

Xavier, Prévost, www.diffusionsamalgamme.com 

FD, Sonez grandes orgues et 

trompettes, Catherine Todorovski, 

Frédéric Demers, 20 

h, église St. Sauveur, Vald'Or, 

514 387-5826 

SINFONIA, Festa Italiana, 

15h30, Théâtre des 

Deux-Rives, St-Jeansur-Richelieu, 

(888) 

443-3949 

SAVM, Mélodies françaises, 

Debussy, Fauré, Hahn, S. 

Karthaüser (soprano) et C. 

Tiberghien (piano), 19 h 

30, Conservatoire de musique 

de Montréal, 514 

397-0068, 

info@artvocal.ca 

OSDL, Cinémaestro, R. Strauss, 

J. Strauss, Mozart, Mendelssohn, 

L. Chaput (chef), M. Re 

Shin, piano, 20 h, Salle Pratt 

& Whitney Canada, Longueuil, 

450 670-1616 

MASQUES, Les Jardins Chorégraphiques, 

Chaconnes ! ,20 

h, Salle de concert du 

Conservatoire de Musique de 

Montréal, Montréal, 514 349- 

9639 

QBOZZINI, Thomas devant la 

fontaine éteinte, 20 h, Chapelle 

historique du Bon-Pasteur, 

Montréal, 

office@quatuorbozzini.ca 

ACIFUENTES, Romances 

Russes (art vocal et visuel), 

Tchaikovsky-Rachamaninoff- 

Glinka-etc., Z. Laterreur, C. 

Growe, C. Cubillan, A. Cifuentes 

Diaz, 19 h, École de 

musique V.-d'Indy, Montréal, 

www.alejandracifuentesdiaz.com 

QFRANZJOSEPH, Quatuors à 

cordes de Joseph Haydn, 19 h 

30, Église de la Visitation du 

Sault-au-Récollet, Montréal, 

514 388-1163 

OSTR, Fabiola chante Weill et 

Gershwin, Hétu, Weill, Gershwin, 

J. Lacombe (chef), F. 

Toupin, 20 h, salle J.-Antonio-Thompson, 

Trois-Rivières, 

1 866 416-9797 

SUBSCRIBE NOW AT: 

www.scena.org 

30 


THEME : Christmas 

The first letter of each word spells the 

name of a British author whose 200 th 

birthday will be celebrated in 2012. 

1. Baroque French composer, author of 

Noëls pour les instruments 

2. Composer of the most famous oratorio, 

composed for Easter but usually 

performed before Christmas 

3. This Christian hymn calls upon believers 

(Latin name) 

4. Santa’s most celebrated reindeer 

5. This Québécois pianist just released 

the album Petit Noël 

6. The last day of the Christmas season, 

this day celebrates the Magi 

1. 

2. 

3. 

4. 

5. 

6. 

7. 

» Quiz 


7. A vile and miserly character from A 

Christmas Carol 

8. This mysterious character gives his 

niece an enchanted nutcracker 

9. He wrote the song “White Christmas” 

10. This Italian with an angelic first 

name composed Concerto Grosso in G 

minor called Fatto per la notte di natale 

or “Christmas Concerto” 

11. She wrote “The Little Drummer Boy” 

12. He composed the soundtrack to Tim 

Burton’s The Nightmare before Christmas 

13. This saint inspired, in part, the 

legend of Santa Claus 

14. Storyteller Fred Pellerin’s hometown 

where the OSM will give three 

concerts this December 

8. 

9. 

10. 

11. 

12. 

13. 

14. 

I 

F 

E 

R 

N 

A 

N 

D 

K 

A 

D 

O 

C 

D 

» wordseach 

S 

V 

E 

I 

G 

R 

E 

G 

I 

G 

A 

L 

A 

R 

L 

U 

A 

F 

I 

N 

T 

E 

R 

M 

E 

Z 

Z 

O 

E 

H 

I 

N 

A 

U 

L 

T 

O 

I 

B 

P 

A 

S 

V 

P 

F 

R 

F 

M 

S 

N 

V 

K 

A 

R 

P 

S 

K 

R 

A 

K 

A 

T 

U 

K 

O 

S 

L 

I 

I 

E 

G 

O 

N 

V 

M 

M 

I 

E 

N 

V 

L 

N 

T 

L 

Alexandre (Alexandre Dumas, 

author of Histoire d’un Casse-Noisette 

based on Hoffman’s German tale and 

the inspiration for Tchaikovsky’s ballet) 

Art 

Ballet 

Clara (heroine of The Nutcracker) 

Celesta 

Coda 

Dumas (Alexandre) 

Drosselmeyer (Clara’s godfather) 

E.T.A (Ernest Theodor Amadeus Hoffmann, 

author of the original The Nutcracker 

and the Mouse King) 

Fantasia (1940 Disney animated 

film featuring several dances from 

Tchaikovsky’s Nutcracker Suite) 

Fernand (Fernand Nault, Nutcracker 

choreographer for the Grands Ballets 

Canadiens de Montréal) 

Gala 

Gergiev (Valery Gergiev, Russian 

conductor who recorded The Nutcracker 

with the Kirov Orchestra on Decca) 

Gradimir (Gradimir Pankov, artistic 

director of the Grands Ballets Canadiens) 

Intermezzo 

Ivanov (Lev Ivanov, choreographer of 

the very first Nutcracker performed in 

1892) 

Ivan (Ivan Vsevolojski, coauthor of 

R 

D 

T 

E 

U 

U 

T 

T 

A 

O 

E 

C 

E 

M 

A 

U 

A 

N 

A 

T 

E 

A 

V 

K 

T 

E 

P 

E 

D 

C 

S 

T 

B 

M 

A 

R 

I 

I 

N 

S 

K 

Y 

THEME : THE NUTCRACKER 

I 

T 

I 

E 

L 

A 

L 

E 

X 

A 

N 

D 

R 

E 

M 

I 

A 

L 

H 

S 

H 

O 

W 

H 

P 

U 

U 

R 

I 

O 

O 

P 

A 

A 

R 

A 

L 

C 

A 

M 

T 

T 

R 

N 

O 

I 

T 

I 

D 

A 

R 

T 

S 

A 

U 

R 

T 

U 

T 

U 

S 

A 

N 

C 

E 

L 

E 

S 

T 

A 

The Nutcracker ballet libretto) 

Kirov (Russian ballet considered to be 

the classic model for The Nutcracker) 

Krakatuk (name of the "uncrackable" 

nut in Dumas’ Histoire d’un 

Casse-Noisette) 

Lev (Lev Ivanov) 

Marius (Marius Petipa, coauthor of 

The Nutcracker ballet libretto) 

Mariinsky (St. Petersburg theatre 

where the first Nutcracker was performed 

in 1892) 

Nault (Fernand Nault, choreographer) 

Pas (Pas de deux, a ballet sequence in 

which two dancers, the Prince and the 

Sugar Plum Fairy, dance together) 

Prince 

Petipa (Marius Petipa) 

Pletnev (Mikhaïl Pletnev, pianist and 

conductor who arranged seven numbers 

from The Nutcracker for piano) 

Production 

Show 

Stahlbaum (Clara's surname, 

which in certain versions is Silberhaus) 

Suite 

Tchaikovski 

Tradition 

Tutu (2) 

Ut 

TRANSLATION: REBECCA ANNE CLARK 

31 


8.Drosselmeyer 

9.Irving Berlin 

10.Corelli (Arcangelo) 

11.Katherine K. Davis 

12.Elfman (Danny) 

13.Nicholas 

14.Saint-Élie-de-Caxton 

CHARLES DICKENS 

Answers: 

1.Charpentier (Marc-Antoine) 

2.Handel 

3.Adeste Fideles 

4.Rudolph 

5.Lefèvre (Alain) 

6.Epiphany 

7.Scrooge

PREVIEWS 

Elsewhere in QUEBEC 

OPERA AS COMIC STRIP 

Les Aventures de Madame Merveille is… a comic strip opera! It’s an 

original concept: comic-strip balloons will be projected onto a giant 

screen and the musicians will be visible as silhouettes through the illustrations. 

This adventure is made up of four acts, four astounding 

stories written by Cecil Castellucci. All this is performed to the festive 

music by André Ristic, which will be played live by the ECM+ musicians 

under the direction of Véronique Lacroix. The soloists: soprano 

Pascale Beaudin, mezzo-soprano Marie-Annick Béliveau, tenor 

Michiel Schrey and baritone Pierre-Étienne Bergeron. December 1, 

Centennial theatre of Université Bishop, Sherbrooke. December 9, 

Maison de la culture de Rosemont. www.ecm.qc.ca 

JV 

CHRISTMAS FANTASY 

Holiday season is fantasy season. 

During Advent, violinist and arranger 

Antoine Bareil offers the chance to revisit 

the Christmas repertoire. He will 

be accompanied by harpist Valérie 

Milot. You will rediscover such great 

classics as Franz Gruber’s Sainte Nuit. 

Orchestre symphonique de Trois-Rivières, 

December 4. www.ostr.ca MAC 

ENSEMBLE ANTOINE-PERREAULT 

CELEBRATES CHRISTMAS 

VALÉRIE MILOT 

PHOTO Gilles Roux 

Ensemble Antoine-Perreault, made up of a hundred musicians and 

choral singers, will offer a Christmas celebration in Rimouski, as it 

does every year, with a fairy tale of chords and vibrations. This orchestra 

will fill you to the brim with holiday spirit. Featuring traditional 

repertoire and some new touches. Salle Desjardins-Telus, 

December 18. www.spectart.com 

MAC 

CHRISTMAS CONCERT 

WITH MARC HERVIEUX 

What better way to celebrate Christmas 

than an evening of music with Marc 

Hervieux? This lyric Canadian artist, wellknown 

on the national and international 

scenes, promises a warm concert in Victoriaville. 

His vocal talent and charisma 

will immerse you in the festive end-ofyear 

atmosphere. Église Sainte-Victoire, 

December 21. www.diffusionmomentum.com 

MAC 

Schäfer; Vladimir Jurowski, cond. (f 3 5/1) 

> 2pm. MBAM SBou. 15-30$. Le Temps des Fêtes en 

musique. Les Idées heureuses. 285-2000 x4, 

800-899-6873. (h 28) 

JANUARY 

Sunday 1 

> 10:45am. SASP. CV. Célébration solennelle du Nouvel An. 

Sweelinck: Puer nobis nascitur; Bach: Prelude and 

Fugue in C major, BWV 547. Soliste du choeur; 


> 2:30pm. PdA SWP. 56- 

107$. Salute to Vienna. Strauss 

Symphony of Montréal; Tommaso 

Placidi, cond.; Marie- 

Josée Lord, soprano; Michael 

Heim, tenor; Vienna Imperial Ballet; champion 

ballroom dancers. 866-842-2112; 842- 

2112. (f 2 Québec) 

> 5pm. Ogilvy Tudor. 10-25$ / 25-40$ avec bouchées 

et vin. Schubertiades. Schubert, R. Schumann, C. Schumann, 

Lachner: Lieder; Beethoven, Brahms, Thuille, 

Zemlinsky. Pentaèdre; Mathieu Gaudet, piano; 

Suzie Leblanc, soprano. 270-2558. (f 20) 

> 8pm. Ogilvy Tudor. 10-25$ / 25-40$ avec chocolats et 

porto. Pentaèdre, Schubertiades. 270-2558. (h17) 

Monday 2 

> 11am. Cineplex Odeon Cavendish Mall, 5800 boul. 

Cavendish. 5-10$. MetOp_HD, Special Holiday Encores. 

Zauberflöte. 485-7111. (h 28/12) 

Tuesday 3 

> 11am. Cineplex Odeon Cavendish Mall, 5800 boul. 

Cavendish. 5-10$. MetOp_HD, Special Holiday Encores. 

Hansel und Gretel. 485-7111. (h 29/12) 

Wednesday 4 


Holiday Encores. Zauberflöte. (h 28/12) 

Thursday 5 


Holiday Encores. Hansel und Gretel. (h 29/12) 

Friday 6 



musicologue). Verdi: Il Trovatore. Dimitra Theodossiou, 

Miroslav Dvorski, Mariana 

Pentcheva, Leo Nucci, Andrea Papi; Carlo 

Rizzi, chef. 343-6479 

Sunday 8 

> 10:45am. SASP. CV. Baptême du Seigneur. Bach: 

Christ, unser Herr, zum Jordan kam, BWV 684 & 685; 

Howells: Like as the hart; Gibbons: This is the record 

of John; Bach: Fugue in C minor after Legrenzi, BWV 

574. Choeur de St. Andrew and St. Paul; Jordan 

de Souza, chef; Jonathan Oldengarm, 

orgue. 842-3431 

Wednesday 11 

> 6pm. McGU(mc) SCL. FA. String Area Class. 398- 

4547 

> 8pm. PdA MSM. 40$. Les grands concerts du mercredi 

1. Ravel: La Valse; Debussy: Children’s Corner; Mahler: 

Kindertotenlieder; Des Knaben Wunderhorn (e). O.S. 

de Montréal; Kent Nagano, chef; Christian Gerhaher, 

baryton. 842-9951. (f 12 14) 

Thursday 12 

> 6pm. MBAM SBou. 12-25$. Les 5 à 7 en musique. Le 

klezmer, de l’ancien au nouveau monde. Musique 

klezmer traditionnelle et originale. Ensemble 

Magillah. 285-2000 x4, 800-899-6873 

> 7:30pm. UdM-MUS B-484. EL. Concerts du CéCo. 

Compositions des étudiants. 343-6427 

> 8pm. PdA MSM. 40$. Les grands concerts du jeudi 2 

Power Corporation du Canada. OSM, Gerhaher. 

842-9951. (h 11) 

Friday 13 

> 12pm. Ogilvy Tudor. 20$ / 30$ avec lunch. Arion Orchestre 

Baroque présente Les concerts Croque- 

Baroque. Voyage en Italie du 17e siècle. 355-1825 



musicologue). Puccini: Tosca. Emily Magee, Jonas 

Kaufmann, Thomas Hampson, Valeriy 

Murga, Giuseppe Scorsin; Paolo Carignani, 

chef. 343-6479 

> 8pm. McGU(mc) TSH. 15-10$. SMCQ Série Hommage/Ana 

Sokolovic. Ana Sokolovic: Love Songs; 

Mesh; Philippe Leroux: Un lieu verdoyant; Je brûle ditelle 

un jour à un camarade; Mitch Burke (création); 

Scelsi: Canti del Capricorno. Jana Miller, soprano; 

Alfredo Mendoza, saxophone. 398-4547 


Saturday 14 


Philip Glass: Satyagraha (durée approx. 4h10min). 

Richard Croft. (f 14 Québec; 14 Elsewhere in QC; 

14 Ottawa-Gatineau) 

> 7:30pm. UdM-MUS SCC. EL. Étoiles montantes. Jean- 

Emmanuel Filet (création); Beethoven: Concerto 

pour piano #2; etc. Orchestre de l’UdM; étudiants 

en direction d’orchestre; Sarah Ristorcelli, 

piano. 343-6427 

> 8pm. Église St-François-Xavier, 994 Principale, 

Prévost. 25$. Rétrospective et renouveau. Musique du 

monde; pièces originales. Quatuor Aveladeen. 

450-436-3037 

> 8pm. PdA MSM. 40$. Les grands samedis OSM. OSM, 

Gerhaher. 842-9951. (h 11) 

> 8pm. St. George’s Anglican Church, La Gauchetière 

angle Peel. 20-25$. Au-delà des continents. Miller, 

Youmans, Rheinberger, Stephen Hatfield, Ronaldo 

Miranda, Misuzu McManus, Donald Patriquin, Bruno 

Dufresne, Peter Lundblad, Lars Edlund, Roman 

Yakub, Sid Robinovitch. Choeur Les Voix de la 

Montagne; Bruno Dufresne, chef; Jean- 

Sébastien Lévesque, piano. 739-4302 

Sunday 15 

> 10:45am. SASP. CV. Office du 2e Dimanche après 

l’Épiphanie. Buxtehude: Wie schön leuchtet der Morgenstern, 

BuxWV 223; Präludium in D, BuxWV 139; 

Gardner: Brightest and best of the sons of the 

morning; Shaw: With a voice of singing. Choeur de 

St. Andrew and St. Paul; Jordan de Souza, 

chef; Jonathan Oldengarm, orgue. 842-3431 

> 7:30pm. St. James the Apostle Anglican Church, 1439 

Ste-Catherine Ouest. 28-30$. Pigmalion et ses amis. 

Rameau: Pigmalion (e); Handel: arias; Hotteterre. Collectif 

Baroque Mont-Royal. 803-6646 

Monday 16 

> 7pm. UdM-MUS B-484. EL. Myriam O’Connor, 

basse jazz. 343-6427 

> 8pm. UdM-MUS SCC. EL. Nguyet Linh Tran, piano. 

343-6427 

Tuesday 17 

> 7pm. UdM-MUS B-484. EL. Pascal Martin, 

trompette jazz. 343-6427 

> 9pm. UdM-MUS B-484. EL. Frédéric Tardif, piano 

jazz. 343-6427 

Wednesday 18 


4547 

> 6:30pm. UdM-MUS SCC. EL. M. Karlowicz, Brahms, 

Tchaïkovski. Corinne Raymond-Jarczyk, violon. 

343-6427 

> 7pm. UdM-MUS B-484. EL. Gabriel Godbout-Castonguay, 

piano jazz. 343-6427 

> 7:30pm. McGU(mc) TSH. FA. Brass Ensemble. 398- 

4547 

> 7:30pm. MBAM SBou. 25-50$. Soirées Arte Musica. 

Handel: Concerto grosso, op.6 #7; Telemann: Ouverture; 

Sammartini: Concerto pour flûte à bec soprano; 

Corelli/Geminiani: Concerto grosso “La 

Follia”; Concerto pour flûte à bec. Les Violons du 

Roy; Bernard Labadie, chef; Maurice Steger, 

flûte à bec. 285-2000, 800-899-6873. (f 19) 

> 9pm. UdM-MUS B-484. EL. Magalie Gosselin, 

piano jazz. 343-6427 

Thursday 19 

> 11am. Ogilvy Tudor. 22-32$. Série Ogilvy. Coucher de 

soleil italien. Wolf: Sérénade italienne; Respighi: Il 

Tramonto; Verdi: Quatuor à cordes. I Musici de 

Montréal; Jean-Marie Zeitouni, chef; Julie 

Boulianne, mezzo. 982-6038. (f 17 + 20 21) 

> 2pm. MBAM SBou. 20-40$. Série Concerts Espresso 

(reprises écourtées du concert de la veille, animées 

par les chefs, sans entracte). Violons du Roy, Steger. 

285-2000, 800-899-6873. (h 18) 


Boulianne. 982-6038. (h 11) 

> 7pm. UdM-MUS B-484. EL. Jordan Racine, saxophone 

jazz. 343-6427 

Friday 20 

> 11am. Ogilvy Tudor. 22-32$. Série Ogilvy. I Musici, 

Boulianne. 982-6038. (h 19) 


Boulianne. 982-6038. (h 19) 

> 6:30pm. MBAM SBou. 22-42$. Une Fugue au Musée. 

SMCQ Série Hommage/Ana Sokolovic; Tableaux en 

musique. La fugue, de Bach à Feininger. Schumann: 7 

Pièces pour le piano en forme de fughette, op.126; 

Ana Sokolovic: Prelude and Fuge for GG; L. Feininger: 

Fugue #3 “Gigue”; Bach: Le Clavier bien tempéré, 

Livre 2: préludes et fugues. Mathieu Gaudet, 

piano. 285-2000 x4, 800-899-6873 

> 7:30pm. CMM SC. 10$. Quatre Saisons. Turina: Trio 

#2, op.76; Piazzolla: Las Cuatro Estaciones; Ravel: 

Trio. Trio Hochelaga. 790-1245, 899-8978 

> 7:30pm. Église unie Union, 24 Maple, Ste-Anne-de- 

Bellevue. 8-15$. Lakeshore Chamber Music Society. 

Mozart, Beethoven, Barber. Ensemble Mosaique. 

457-5280 

> 7:30pm. McGU(mc) RED. 10$. Hank Knox, harpsichord. 

398-4547 



musicologue); soirée spéciale. Quelques grands interprètes 

de. Verdi: Il Trovatore (e). Maria Callas, 

Fiorenza Cossotto, Mario del Monaco, Plácido 

Domingo, Leyla Gencer, Dmitri Hvorostovsky, 

Raina Kabaivanska, Éva Marton, 

32 


Sherrill Milnes, Luciano Pavarotti, Leontyne 

Price, Joan Sutherland, José Van Dam, Jon 

Vickers, Dolora Zajick, etc. 343-6479 


Saturday 21 


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 21 

Québec; 21 Elsewhere in QC; 21 Ottawa-Gatineau) 

> 2pm. Ogilvy Tudor. 22-32$. Série Ogilvy. I Musici, 

Boulianne. 982-6038. (h 19) 

> 5pm. McGU(mc) SCL. FA. Class of Marina Mdivani, 

piano. 398-4547 

> 7:30pm. CMM SC. 10$. Les Samedis à la carte. 

Ravel: Sonate pour violon et piano; Schubert: 

Rondo Brillant, D.895, op.70; Bartók: Danses populaires 

roumaines, Sz.56; Prokofiev: Marche et 

scherzo de L’Amour des trois oranges; R. Strauss: 

Sonate pour violon et piano, op.18. Andréa Picard, 

violon; Irene Kim, piano. 873-4031 

> 7:30pm. PdA SWP. 

52-140$. Opéra de Montréal. 

Verdi: Il Trovatore. O.S. de Montréal; 

Francesco Maria 

Colombo, chef; Hiromi 

Omura, Julian Gavin, Gregory Dahl, Laura 

Briolo. (18h30, Piano nobile: conférence, Pierre 

Vachon, musicologue) 985-2258, 842-1221. (f 24 

26 28) 


Prévost. 25$. CD Québec passion. Sergeï Trofanov, 

violon, voix; Vladimir Sidorov, 

bayan; Olga Trofanova, piano. 450-436-3037 

Sunday 22 

> 10:45am. SASP. CV. 3e Dimanche après l’Épiphanie. 

Böhm: Wer nur den lieben Gott lässt walten; Jacob 

Handl: Omnes de Saba venient; Stanford: O for a 

closer walk with God; Fantasia and Toccata, op.57. 

Choeur de St. Andrew and St. Paul; Jordan de 

Souza, chef; Jonathan Oldengarm, orgue. 842- 

3431 

> 11am. Hôtel de Ville, 435 boul. Iberville, Repentigny. 

18-20$. Série Virtuoso. Haydn: Variations, 

Hob.17: 6; Liszt: Études d’exécution transcendante, 

#8 Wilde Jagd; Rachmaninoff: Étude-tableau, op.39 

#3; Debussy: Étude 2 pour les tierces; Fauré: Nocturne 

#4, op.36; Scriabin: Sonate #5, op.53; Messiaen: 

Vingt regards sur l’Enfant-Jésus, #10 Regard 

de l’Esprit de joie; Chopin: Polonaise-Fantaisie, 

op.61. Tristan Longval-Gagné, 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 instrumentistes. 

Baroque and Renaissance Afternoon. 

Madrigals from serious to humorous; etc. Betsy 

Macmillan, cond. (durée 3h; partitions fournies; 

toutes les voix; instruments: surtout flûte à bec, 

viole; autres cordes et vents bienvenus) 695-8610; 

instrumentistes RSVP 

> 2:30pm. Centre 

Segal des arts de la scène, 5170 

chemin Côte-Ste-Catherine. 15- 

25$. Bravo Series. Fiesta Flamenco. 

Michael Laucke, 

guitar; etc.; dancers. 739-7944. 

> 3pm. St. Barnabas Church, 95 Lorne, St-Lambert. 

0-20$. Lumière d’hiver. Healey Willan, Morten Lauridsen, 

Iman Raminsh, Tallis. Ensemble vocal 

Musica Viva; Cristian Gort, chef; Pierre 

McLean, piano. 514.695.2777 

> 3:30pm. Théâtre des Deux-Rives, 30 boul. du 

Séminaire Nord, St-Jean-sur-Richelieu. 19-44$. 

Maestria. Musique de cinéma italien. Marc 

Hervieux, ténor; Sinfonia de Lanaudière. 

888-443-3949 

> 7:30pm. CMM SC. 10$. Les Rendez-vous du dimanche. 

Debussy: Suite d’orchestre #1 (transcription 

Debussy); etc. François Zeitouni, Olivier 

Godin, piano 4 mains. 873-4031 

Monday 23 

> 7pm. McGU(mc) TSH. FA. Student Soloists. 398- 

4547 

> 8pm. Maison de la culture Frontenac, 2550 Ontario 

Est. EL. SMCQ Série Hommage/Ana Sokolovic. 

Ana Sokolovic: Ciaccona. Ensemble Transmission. 

872-7882. (f 29/1, 2 5/2) 

Tuesday 24 

> 3:30pm. McGU(mc) SCL. FA. Piano Tuesdays. 398- 

4547 

> 6:30pm. La Grande Bibliothèque, Auditorium, 475 

Maisonneuve Est. 30$. Musique de chambre. Le 

Québec et la France, paysages réunis. Campo (création); 

Pépin: Suite; Trio #1 pour violon, violoncelle et 

piano; Le Vaisseau d’or (inspiré du poème de Nelligan); 

Fauré: Quatuor #1 pour piano et cordes. Ramsey 

Husser, Johannes Jansonius, violon; 

Natalie Racine, alto; Gary Russel, violoncelle; 

Louise-Andrée Baril, piano; Stephen Hegedus, 

basse; James Hyndman, lecteur. 842- 

9951 



OdM, Trovatore. (18h30, Piano 

nobile: conférence, Pierre Vachon, 

musicologue) 985-2258, 

842-1221. (h 21) 

> 8pm. McGU(mc) TSH. FA. Classes of Aiyun 

Huang and Fabrice Marandola, percussion. 

398-4547 

Wednesday 25 

> Centre Segal des 

arts de la scène, 5170 chemin 

Côte-Ste-Catherine. 15-25$. Big 

Band Series. Schulich Benefit. 

McGill Jazz Orchestra 1. 739- 

7944. 


4547 

> 7:30pm. Église Notre-Dame-des-Sept-Douleurs, 

4155 Wellington (& de l’Église), Verdun. Tournée 

CAM. Fraternité cosmopolite. Armanini: Heartland; 

Blais: Dremlen Feygl Oyf Di Tsvaygn; Brouard: Oeuvre 

sur Baron Lacroix; Ichmouratov: Montréal la cosmopolite; 

musique klezmer. Orchestre 

Métropolitain; Aïrat Ichmouratov, chef; Ensemble 

Kleztory; Lang Tung, ehru; Patrice 

Laré, piano; Janice Jackson, soprano. 765- 

7150. (f 26 28) 

> 7:30pm. UdM-MUS SCC. EL. Série Électro Buzzzzzzz. 

Compositions électroacoustiques d’étudiants et 

de professionnels. 343-6427. (f 26 27) 

Thursday 26 

> 7:30pm. Centre 

Segal des arts de la scène, 5170 


25$. Women of the World Series. 

Coral Egan. 739-7944. 

> 7:30pm. McGU(mc) POL. 25-30$. Opera McGill. 

Mozart: Don Giovanni. McGill S.O.; Gordon Gerrard, 

cond. 398-4547 

> 7:30pm. PdA MSM. 21-57$. OM, cosmopolite. 

(18h30 gratuit: conférence bilingue) 842-2112. (h 

25) 



OdM, Trovatore. (18h30, Piano 

nobile: conférence, Pierre Vachon, 

musicologue) 985-2258, 

842-1221. (h 21) 


343-6427. (h 25) 

> 8pm. CMM SC. 10- 

25$. SMCQ Série Hommage/Ana 

Sokolovic; SMCQ Série montréalaise. 

Quatre par quatre. Silvio 

Palmieri: Come in un film di…; 

Nicolas Gilbert: Fonctions vitales; Ana Sokolovic: 

Blanc dominant; Walter Boudreau: Le Grand Méridien. 

Quatuor Molinari. 527-5515, 873-4031. 


Gentilly Est, Longueuil. 25-55$. Série Grands concerts. 

Cinémaestro. R. Strauss: Ainsi parlait Zarathustra; J. 

Strauss II: Valse Le Beau Danube bleu; Mozart: Concerto 

pour piano #21; Mendelssohn: Symphonie #4 

“Italienne”. O.S. de Longueuil; Marc David, chef; 

Minna Re Shin, piano. 450-670-1616 

Friday 27 

> 12:30pm. McGU(mc) RED. FA. Noon-Hour Organ Series. 

398-4547 



cond. 398-4547 



Wagner: Le Crépuscule des dieux. Jeannine 

Altmeyer, Heinz Kruse, Kurt Rydl, 

Wolfgang Schöne, Anne Gjevang; Hartmut 

Haenchen, chef. (prologue, acte 1) 343-6479. (f 

3/2) 


343-6427. (h 25) 

> 8pm. CHBP. 10-20$. Série montréalaise du QB. 

Nicolas Gilbert: Thomas devant la fontaine éteinte 

(création). Quatuor Bozzini; Simon-Pierre 

Lambert, comédien. 872-5338, 845-4046 

> 8pm. CMM SC. 10-25$. Lully, Muffat, Purcell: chaconnes. 

Ensemble Masques; troupe de 

danse Les Jardins Chorégraphiques. 855- 

790-1245 


Saturday 28 

> 12:30pm. Ciné-Met MTL2. 19-26$. MetOp_HD, Encore. 

Rodelinda. (h 3/12) 

> 7pm. École de 

musique Vincent-d’Indy, 628 


20$. Romances russes. 

Tchaikovsky, Rimsky-Korsakov, 

Glinka, Rachmaninoff, etc. Zoé Laterreur, Cody 

Growe, chanteurs; Alejandra Cifuentes 

Diaz, piano. 258-6808. 

> 7:30pm. Église de la Visitation, 1847 boul. Gouin 

Est. 0-25$. Haydn: Quatuors à cordes, op.1 #6; 

op.50 #5; op.77 #2. Quatuor Franz Joseph. 388- 

1163 


OTTAWA & GATINEAU 

CONTEMPORARY MELODIES 

December 3 will be the perfect evening to hear the University of Ottawa’s 

contemporary music ensemble. Frédéric Lacroix, a pianist and composer 

whose reputation has exceeded national boundaries, will conduct for the 

occasion. Lacroix is a music teacher still very active in the musical world; 

he left a lasting impression last September when he accompanied the Ottawa 

Symphony Orchestra for Rachmaninov’s Rhapsody on a Theme of 

Paganini. Salle Freiman. www.musique.uottawa.ca 

MB 

CHRISTMAS TIMES TWO! 

Particularly of note on the Ottawa Chamber Music Society’s program 

are Angèle Dubeau and la Pietà, who will take us on a journey across 

the melodies of different cultures. The program promises to be international 

and diverse, spanning the range between Antonio Vivaldi and 

Dave Brubeck! December 4, Dominion-Chalmers United Church. 

www.ottawachamberfest.com 

Second, the impressive soprano Natalie Choquette will join the Orchestre 

symphonique de Gatineau for Noël au coin du feu. They will 

be accompanied by 75 singers from the Conservatoire de musique de 

Gatineau. Choquette, whose musical universe is as varied as it is far 

ranging, will host the evening in two parts: an initial section for traditional, 

religious and classical Christmas carols will be followed by a 

second section with a “more folkloric and interactive” side. December 

10, Maison de la culture de Gatineau. www.osgatineau.ca MB 

HANDEL’S MESSIAH 

Music connoisseurs in the 

Ottawa region should take 

advantage of the concerts 

on December 13 and 14 at 

Southam Hall in the National 

Arts Centre. It’s a 

chance to attend the performance 

of a true holiday 

classic, Handel’s Messiah. 

Written in 1741 by the great 

German composer, the oratorio 

will here benefit from 

an amazing combination of 

PREVIEWS 

ANGÈLE DUBEAU 

PHOTO Luc Robitaille 

TREVOR PINNOCK 

PHOTO Andrew Stepan 

musical talents: a group of singers, a choir and the National Arts Centre 

Orchestra will be under the direction of the prestigious British conductor 

Trevor Pinnock, who was honoured by the British and the 

French states during the 1990s and is among the greatest Baroque 

music specialists. December 13 and 14. www.nac-cna.ca 

MB 




cond. 398-4547 

> 7:30pm. PdA SWP. 52- 

140$. Opéra de Montréal. OdM, 

Trovatore. (18h30, Piano nobile: 

conférence, Pierre Vachon, musicologue) 

985-2258, 842-1221. (h 

21) 

> 7:30pm. St. Columba-by-the-Lake Church, 11 Rodney, 

Pointe-Claire. 12$ suggested donation. St. 

Columba Concert Series. Piazzolla, Falla, Bach, Paganini. 

Benoît Boisvert, violin; Cary Savage, 

guitar. 364-3027, 697-8015 

> 7:30pm. UdM-MUS B-484. EL. Mozart, Beethoven, 

Diniky, Tchaikovsky. Classe d’Eleonora Turovsky, 

violon; classe de Yuli Turovsky, violoncelle. 

343-6427 

> 8pm. Cégep Marie-Victorin, Salle Désilets, 7000 

Marie-Victorin, Rivière-des-Prairies. Tournée CAM. 

OM, cosmopolite. 872-9814. (h 25) 

> 8pm. St. John the Evangelist Church (Red Roof), 137 

Président-Kennedy (coin St-Urbain). 20-10$. SMCQ 

Série Hommage/Ana Sokolovic. Sur les traces d’Ana. 

Ana Sokolovic: Ambient V; Cinque danze per violino 

solo; Telemann: Suite Gulliver; Miklòs Ròzsa: Sonate 

pour 2 violons, op.15a. Duo Beaudry-Belzile. 288- 

4428 

> 8pm. ThOutremont. 20$. Tremblement de fer. Jazz; 

improvisation; classique contemporain. Ensemble 

Pierre Labbé. 495-9944 

Sunday 29 

> 10:45am. SASP. CV. 4e Dimanche après l’Épiphanie. 

Karg-Elert: Canzona in G flat, op.46 II B; Keith Bissell: 

Christ, whose glory fills the skies; Julian Wachner: 

Arise, shine; Dan Locklair: Jubilo. Choeur de St. Andrew 



> 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. McGU(mc) POL. 25-30$. Opera McGill. Mozart: 

Don Giovanni. McGill S.O.; Gordon Gerrard, cond. 

398-4547 

> 2:30pm. St. John’s Lutheran Church, 3594 Jeanne- 

Mance (coin Prince-Arthur). FD. Serenata at St. John’s. 

Britten: Phantasy Quartet for oboe and strings, op.2; 

Mozart: String Quartet, K.465 “Dissonance”. Alexa Zirbel, 

oboe; Susan Pulliam, Sara Bohl Pistolesi, 

violin; Michael Krausse, viola; Donald Pistolesi, 

cello. 844-6297 

> 3pm. CCPCSH. SMCQ Série Hommage/Ana Sokolovic. 

Transmission, Sokolovic. 630-1259. (h 23) 

> 8pm. McGU(mc) RED. FA. Doctoral Recital. Kate 

Haynes, baroque cello. 398-4547 

Monday 30 

> 6:30pm. UdM-MUS SCC. EL. Mozart, Chopin, Debussy, 

Schumann. Sarah Ristorcelli, piano. 343-6427 

Tuesday 31 

> 3:30pm. McGU(mc) SCL. FA. Piano Tuesdays. 398- 

4547 

> 7:30pm. McGU(mc) TSH. FA. Doctoral Recital. Jan 

Krejcar, piano. 398-4547 

FEBRUARY 

Wednesday 1 

> 8pm. PdA MSM. 40$. Les grands concerts du mercredi 

2. Wagner: Die Meistersinger von Nürnberg, prélude; 

Schumann: Concerto pour piano; Dvorak: Symphonie 

#7. O.S. de Montréal; James Conlon, chef; Alain 

Lefèvre, piano. 842-9951. (f 2) 

Thursday 2 

> 6pm. MBAM SBou. 12-25$. Les 5 à 7 en musique. 

Bossa nova. André Rodrigues, guitare brésilienne. 

285-2000 x4, 800-899-6873 

> 8pm. Maison de la culture Notre-Dame-de-Grâce, 3755 

Botrel. EL. SMCQ Série Hommage/Ana Sokolovic. 

Transmission, Sokolovic. 868-2157. (h 23/1) 

> 8pm. PdA MSM. 40$. Les grands concerts du jeudi 2 

Power Corporation du Canada. OSM, Lefèvre. 842- 

9951. (h 1) 

Friday 3 



musicologue). Wagner, Crépuscule. (actes 2-3) 

343-6479. (h 27/1) 

> 8pm. PdA MSM. 35- 

75$. Concert bénéfice de l’Institut du 

cancer de Montréal. Bizet, Puccini, 

Catalani, Verdi, etc. Orchestre 

Métropolitain; Stéphane 

Laforest, chef; Marie-Ève Poupart, violon; 

Marie-Josée Lord, soprano. 842-2112, 

Saturday 4 


Faust. (h 10/12) 

> 2:30pm. ThOutremont. 25$. Révélation Radio- 

Canada 2011-2012. Franck: Sonate en la majeur; 

Chostakovitch: Sonate en ré majeur. Stéphane 

Tétreault, violoncelle; Sasha Guydukov, 

piano. 495-9944 

34 

> 8pm. Église de la Purification B.V.M., 445 Notre-Dame, 

Repentigny. 20$. Série Art et Spiritualité. Présence. 

Claudel Callender: pièces pour piano (création). 

Claudel Callender, piano. (Projection d’oeuvres du 

peintre Jacques Desgagnés sur grand écran; concert 

suivi d’une dégustation de produits de l’abbaye Val 

Notre-Dame) 450-581-2482 x3 


Prévost. 20$. Nos jeunes virtuoses 2012. Bach, 

Brahms, Beethoven, Chopin, Ibert, Liszt, Ravel. Yogane 

Lacombe, Jonathan Jolin, piano. 450- 

436-3037 

Sunday 5 

> 11am. Maison JMC. 9$. La Musique, c’est de Famille!. 

Coucou musique!. (Pour les 3 à 6 ans; 45 minutes) 

845-4108. (f 13) 

> 1:30pm. Maison JMC. 9$. La Musique, c’est de 

Famille!. Coucou musique!. (Pour les 3 à 6 ans; 45 

minutes) 845-4108. (h 11) 

> 2pm. Centre culturel de Verdun, 5955 Bannantyne, 

Verdun. EL. SMCQ Série Hommage/Ana Sokolovic. 

Transmission, Sokolovic. 765-7154. (h 23/1) 

> 2pm. Théâtre du Vieux-Terrebonne, 866 St-Pierre, 

Terrebonne. 40$. Les beaux concerts. Hommage à la 

francophonie. Succès de Brel, Bécaud, Trenet, Charles 

Aznavour, Jean-Pierre Ferland, Robert Charlebois, 

Claude Dubois. Sinfonia de Lanaudière; 

Stéphane Laforest, chef; Marc Hervieux, 

ténor. 450-492-4777. (f 19) 

> 2:30pm. PdA MSM. 40$. Les dimanches en musique. 

Grieg: Peer Gynt, suite; Sibelius: Concerto pour violon; 

Prokofiev: Symphonie #3. O.S. de Montréal; 

Jacques Lacombe, chef; Ray Chen, violon. 842- 

9951 

> 7:30pm. Théâtre du Vieux-Terrebonne, 866 St-Pierre, 

Terrebonne. 40$. Les beaux concerts. Sinfonia 

Lanaudière, Hervieux. 450-492-4777. (h 14) 

Monday 6 

> 8pm. MBAM SBou. 15- 

40$. Haydn: Symphonie #93, Hob.1: 

93; Vivian Fung: Sinfonietta pour 

cordes; Schumann: Concerto pour violoncelle, 

op.129; J.C. Bach: Sinfonia, 

op.18 #4. Orchestre de chambre de Montréal; 

Wanda Kaluzny, chef; Maarten Jansen, violoncelle. 

871-1224, 285-2000 x4. 

Tuesday 7 

> 6:30pm. PdA MSM. 30$. Musique de chambre. L’Italie: 

Carnets de voyage. Verdi: Quatuor à cordes; Tchaikovski: 

Souvenir de Florence. Marianne Dugal, Olivier 

Thouin, violon; Rémi Pelletier, Lambert Chen, 

alto; Sylvain Murray, Anna Burden, violoncelle; 

Élise Guilbaut, lectrice. 842-9951 

QUEBEC REGION 

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 the MetOp_HD broadcasts) 

Cinéplex Odeon Beauport, 825 Clémenceau, Beauport; 

Cinéplex Odeon Ste-Foy, 1200 boul. Duplessis, 

Ste-Foy 

GTQ Grand Théâtre de Québec, 269 boul. René- 

Lévesque Est, 643-8131, 877-643-8131: SLF Salle 

Louis-Fréchette 

ULav Université Laval, Cité universitaire, Ste-Foy: SHG 

Salle Henri-Gagnon (3155), Pavillon Louis-Jacques- 

Casault (Faculté de musique) 

DECEMBER 

1 7:30pm. GTQ SLF. 33-76$. Tchaïkovski/Fernand 

Nault: Casse-Noisette. O.S. de Québec; Allan 

Lewis, chef; Les Grands Ballets Canadiens de 

Montréal. 643-8486, 877-643-8486. (f 2 3 4) 

1 8pm. ULav SHG. 2-5$. Département de musique du 

Cégep de Sainte-Foy. Orchestre à vent; René 

Joly, chef. 656-7061 

2 6pm. Fairmont Le Château Frontenac, 1 des Carrières. 

275$, 10 places pour 2500$. Magie et 

cadeaux au Château; soirée bénéfice au profit de l’OSQ. 

Spectacle de magie. Luc Langevin, magicien. 

643-7625 

2 7:30pm. GTQ SLF. 33-76$. OSQ, Casse-Noisette. 

643-8486, 877-643-8486. (h 1) 

2 8pm. ULav SHG. 2-5$. Département de musique du 

Cégep de Sainte-Foy. Orchestre de chambre; 

chorales; André Martin, chef. 656-7061 

3 12:30pm. Ciné-Met Québec. 19-26$. MetOp_HD, 

Live. Rodelinda. (h 3 Montréal) 

3 2pm. GTQ SLF. 33-76$. OSQ, Casse-Noisette. 643- 

8486, 877-643-8486. (h 1) 


643-8486, 877-643-8486. (h 1) 

3 8pm. ULav SHG. EL. Classe de Rémi Boucher, 

guitare. 656-7061 


4 2pm. École des Ursulines, 

4 du Parloir. 15$. Les Aprèsmidis 

des Ursulines. Palestrina: 

Magnificat; Marenzio: Magnificat; 

Arvo Pärt: Magnificat; Poulenc, 

Morten Lauridsen, Javier Busto, John Rutter: pièces 

pour Noël; noëls traditionnels (arr. Daignault, Raymond 

Daveluy, Puerling). Ensemble de musique 

sacrée de Québec (a cappella); Richard 

Duguay, chef. 681-2117. (f 18) 

4 2pm. GTQ SLF. 33-76$. OSQ, Casse-Noisette. 643- 

8486, 877-643-8486. (h 1) 

4 2pm. ULav SHG. EL. Classes de Marcel Rousseau 

et d’Alain Trottier, clarinette. 656-7061 


643-8486, 877-643-8486. (h 1) 

4 8pm. ULav SHG. EL. Classes de cuivres; 

Monique de Margerie, piano. 656-7061 

5 8pm. ULav Théâtre de la Cité universitaire, Pavillon 

Palasis-Prince, Cité universitaire, Ste-Foy. 5-10$. 

Grands ensembles. FaMUL jazz; Rémi Bolduc, 

chef. 656-7061 

6 12pm. ULav SHG. EL. Classe de Zbigniew 

Borovicz, contrebasse. 656-7061 

7 8pm. ULav SHG. LP. Debussy: Prélude à l’après-midi 

d’un faune; C.P.E. Bach: Concerto pour flûte, Wq. 

169. O.S. de la Faculté de musique; Airat Ichmouratov, 

chef; Marie-Ève Paquin, flûte. 

656-7061 

8 7:30pm. GTQ SLF. 51-126$. Opéra de Québec. Gala 

annuel. O.S. de Québec; Choeur de l’Opéra de 

Québec; John Keenan, chef. 529-0688, 877- 

643-8131 

8 8pm. Palais Montcalm, Salle Raoul-Jobin, 995 place 

d’Youville. 20-81$. Série Baroque avant tout. Violons 

du Roy, Messiah. 641-6040, 877-641- 

6040(f Montréal 11) 

9 6pm. Place Ste-Foy, Cour centrale, 2450 Laurier, 

Ste-Foy. EL. Chants traditionnels de Noël. Choeur 

de l’OSQ; David Rompré, chef. 643-8486, 877- 

643-8486 

9 8pm. Palais Montcalm, Salle Raoul-Jobin, 995 place 

d’Youville. 20-81$. Série Baroque avant tout. Violons 

du Roy, Messiah. 641-6040, 877-641- 

6040(f Montréal 11) 


Live. Faust. (h 10 Montréal) 

16 8pm. Centre de foires de Québec (ExpoCité), Pavillon de 

la Jeunesse, 250 boul. Wilfrid-Hamel. 29-79$. La grande 

virée de Noël. Chants traditionnels du temps des Fêtes; 

musique classique. O.S. de Québec; Stéphane 

Laforest, chef; Nicolas Pellerin et les Grands 

Hurleurs, musiciens traditionnels; Marie- 

Josée Lord, soprano; Grégory Charles, animateur. 

643-8486, 877-643-8486. (f 17) 

17 1pm. Ciné-Met Québec. 19-26$. MetOp_HD, Encore. 

Don Giovanni. (h 17 Montréal) 

17 1:30pm. Centre de foires de Québec (ExpoCité), 

Pavillon de la Jeunesse, 250 boul. Wilfrid-Hamel. 

29-79$. OSQ, grande virée Noël. (h 16) 

17 8pm. Palais Montcalm, Salle Raoul-Jobin, 995 place d’Youville. 

20-68$. Série Grands Rendez-vous. Marie-Nicole 

Lemieux et Bach pour Noël. Telemann: Ouverture, TWV55: 

F7 “A la Pastorelle”; Bach: Oratorio de Noël, BWV248 (e); 

cantates pour le temps de Noël (e); Molter: Concerto Pastorale; 

F. Manfredini: Concerto grosso, op.3 #12 “Pastorale 

per il Santissimo Natale”. Les Violons du Roy; 

Eric Paetkau, chef; Marie-Nicole Lemieux, contralto. 

641-6040, 877-641-6040 

18 2pm. Église Ste- 

Famille, 30 place de l’Église, Cap- 

Santé. 0-10$. Les Dimanches en 

musique. EMSQ. 681-2117. (h 4) 

JANUARY 

2 2:30pm. GTQ SLF. 55- 

95$. Salute to Vienna. 643-8131; 

877-643-8131. (h 1 Montréal) 

6 8pm. GTQ SLF. 45-92$. Club musical de Québec. 

Purcell, Berlioz, Schubert, Schumann, Liszt, 

Tchaïkovski, Duparc, Wolf, Hotrovitz, Poulenc. 

Susan Graham, mezzo; Malcolm Martineau, 

piano. 643-8131, 877-643-8131 


Satyagraha. (h 14 Montréal) 


Live. The Enchanted Island. (h 21 Montréal) 

28 12:30pm. Ciné-Met Québec. 19-26$. MetOp_HD, Encore. 

Rodelinda. (h 3/12 Montréal) 

FEBRUARY 


Faust. (h 10/12 Montréal) 

5 8pm. GTQ SLF. 38-81$. Club musical de Québec. 

Diana Damrau, soprano; Xavier de Maistre, 

harpe. 643-8131, 877-643-8131 

ELSEWHERE in QUEBEC 

Ciné-Met elseQC (for the MetOp_HD live broadcasts) 

Cinéma Galaxy Sherbrooke, 4202 Bertrand-Fabi, 

Rock Forest; Cinéma Galaxy Victoriaville, 1121 Jutras 

Est, Victoriaville 

CMRim Conservatoire de musique de Rimouski, 22 

Ste-Marie, Rimouski, 418-727-3706: SBM Salle 

Bouchard-Morisset 

CMSag Conservatoire de musique de Saguenay, 202 

Jacques-Cartier Est, Chicoutimi (région du Saguenay), 

418-698-3505 

GalaxyRF Cinéma Galaxy Sherbrooke, 4202 Bertrand- 

Fabi, Rock Forest 

DECEMBER 

1 8pm. CMSag Salle Jacques-Clément. EL, CV. Concerts 

des ensembles. Kaléidoscope d’ensembles. Ensembles 

vocaux, musique de chambre, 

jazz, baroque. 418-698-3505 x239. (f 2) 

2 7pm. CMRim SBM. EL. Les Exercices de classe. 

Classe d’Éric Labbé, guitare. 418-727-3706 

2 8pm. CMSag Salle Jacques-Clément. EL, CV. Concerts 

des ensembles. Kaléidoscope. 418-698- 

3505 x239. (h 1) 

3 12:30pm. Ciné-Met elseQC. 19-26$. MetOp_HD, 


3 8pm. Église St-Zénon, 459 Principale, Piopolis (région 

du lac Mégantic). 0-30$. Festival St-Zénon-de- 

Piopolis. Concert gala: Un Noël pas comme les autres. 

Marc Hervieux, ténor; ensemble instrumental; 

Claude Webster, piano. 819-583-3255 

4 11am. Salle J.-Antonio-Thompson, Foyer Gilles- 

Beaudoin, 374 des Forges, Trois-Rivières. 0-14$. 

Muffins aux sons. Fantaisie sur Noël. Valérie Milot, 

harpe; Antoine Bareil, violon. 819-380-9797, 

866-416-9797 

5 7pm. CMRim SBM. EL. Les Lundis du Conservatoire. 

Nicolas Delisle-Godin, Marie-Julie Boucher, 

clavecin; Pascal Demalsy, orgue; Philippe 

Moreau, Nicolas Migneault, guitare. 418-727- 

3706 

7 7pm. CMSag Salle Jacques-Clément. EL, CV. Concert 

des jeunes. 20 élèves de niveau préparatoire 

et intermédiaire. 418-698-3505 x239 


Classe de Mariette Gendron-Bouchard, violoncelle. 

418-727-3706 


Classe de Benoît Plourde, saxophone; classe 

de Trent Sanheim, trompette. 418-727-3706 



11 2pm. Salle Desjardins-Telus, Foyer, 25 St-Germain 

Ouest, Rimouski. 3$, café inclus. Dimanches musicaux. 

Classes d’ensembles 

11 2:30pm. Salle J.-Antonio-Thompson, 374 des Forges, 

Trois-Rivières. 49-60$. Beaux dimanches. Noël. O.S. 

de Trois-Rivières; L’Orphéon de Trois-Rivières; 

Jacques Lacombe, chef; André Gagnon, piano. 

819-380-9797, 866-416-9797 

12 2pm. CMSag. EL, CV. La relève Arts-Études en concert. 

Karina Gaudreault, flûte; Geneviève 

Coulombe, Olivier Moreau, clarinette; 

Samuel St-Hilaire, trompette; Jeanne-Sophie 

Baron, Rosalie Lixing Boivin, Katerine 

Siket, violon; Mathieu-David Cox, Philippe 

Marcil, alto; François Lamontagne, Marie- 

Pier Simard-Gagnon, violoncelle; Zhakaël 

Bondu, Laura-Abigail Cox, Sarah-Élisabeth 

Cox, piano. 418-698-3505 

12 7pm. CMRim SBM. EL. Les Lundis du Conservatoire. 

Daphné Bourbonnais, Frédéric Alexandre 

Michaud, David Xie, violon; Tom Jacques, 

percussion; Florence Tremblay, violoncelle; 

Paul Lavoie, Samuel Beaulieu, saxophone; 

Alexandrine Marcoux, Sarah Brousseau-Gosselin, 

guitare; Jasmine Skelling, clarinette. 

418-727-3706 

13 7:30pm. Maison des 

arts Desjardins-Drummondville, 

175 Ringuet, Drummondville. 18- 

36$. Nous sommes… un cadeau!. 

Gossec: Première suite de Noël; 

Schubert; Symphonie #8 “Inachevée”; Tchaikovski: 

Casse-noisette (e); Pierre Simard: Airs de Noël. O.S. 

de Drummondville; Cesario Costa, chef. (18h30 

conférence, Cesario Costa, chef) 819-477-5412, 800- 

265-5412. 

17 1pm. GalaxyRF. 19-26$. MetOp_HD, Encore. Don 

Giovanni. (h 17 Montréal) 

JANUARY 

14 1pm. GalaxyRF. 19-26$. MetOp_HD, Encore. Satyagraha. 

(h 14 Montréal) 



26 8pm. CMSag. EL, CV. Les Jeudis Découvertes du 

Conservatoire; niveau préparatoire. Pier-Yves Girard, 

trombone; Catherine Gravel, Marie- 

Aude Turcotte, violon. 418-698-3505 

27 8pm. Maison de la culture de Trois-Rivières, 1425 

place de l’Hôtel-de-Ville, Trois-Rivières. 20-25$. 

Brouillard. Bartók, Jongen, Halvorsen, Helmut Lipsky, 

Shield, O’Connor, Antoine Bareil, Holst, Clarke. 

Antoine Bareil, violon; Sébastien Lépine, violoncelle. 

819-380-9797. (f 29) 

28 12:30pm. GalaxyRF. 19-26$. MetOp_HD, Encore. 

Rodelinda. (h 3/12 Montréal) 

28 8pm. Salle J.-Antonio-Thompson, 374 des Forges, Trois- 

Rivières. 39-50$. Grands concerts. J. Hétu: Antinomie, 

op.23; Weill: chansons; Symphonie #1; Gershwin: chan-

sons; Un Américain à Paris. O.S. de Trois-Rivières; 

Jacques Lacombe, chef; Fabiola Toupin, voix. 

819-380-9797, 866-416-9797 

29 4pm. Centre des arts de Shawinigan, 2100 boul. 

des Hêtres, Shawinigan. 20-25$. Bareil, Lépine. 

819-539-6444. (h 27) 

FEBRUARY 

1 2pm. CMSag. EL, CV. Cours de maître. Julie Cossette, 

violon. 418-698-3505 

2 8pm. CMSag. EL, CV. Les Jeudis Découvertes du 

Conservatoire; niveau préparatoire. Étienne 

Morissette, flûte; Gabrielle Bouchard, violon; 

Francis Rossignol, orgue. 418-698-3505 

4 1pm. GalaxyRF. 19-26$. MetOp_HD, Encore. Faust. 

(h 10/12 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 

NACO National Arts Centre Orchestra 

StarCité Gatineau Cinéma StarCité Gatineau, 115 

boul. du Plateau, Gatineau 

UofO University of Ottawa: AlumniAud Room 014 

(Alumni Auditorium), 85 University (Jock Turcot 

Centre); Perez121 Room 121 (Freiman Hall), 610 

Cumberland (Pérez Building) 

DECEMBER 

2 10am. UofO Perez121. FA. Astral Artist Mentorship 

Program: workshop. Performance Awareness from 

Studio to Stage. Dr. John Chong (Medical Director, 

Musicians’ Clinics of Canada, Toronto). 

(part 2; 10am-12, 2pm-4pm) 562-5733 

2 7:30pm. Orleans United Church, 1111 Orleans Blvd. 

0-20$. Northern Lights: a celebration of Canadian 

choral compositions. Donald Patriquin (arr.), Ron 

Smail (arr.), Bruce Sled, Donald Patriquin, Edward 

Henderson, Eleanor Daley, Mark Sirett, Stephanie 

Martin, Stephen Chatman, Stephen Eisenhauer, 

Tim Corlis, etc.. Coro Vivo Ottawa; Antonio 

Llaca, cond. 841-3902 

2 8pm. St. Brigid’s Centre for the Arts and Humanities, 

310 St. Patrick (& Cumberland). CV. Orchestra 

Series, Astral Artist Mentorship Program. Handel: 

Music for the Royal Fireworks; Concerto grosso, 

op.6 #9; Beethoven: Symphony #4. University of 

Ottawa Orchestra; Jeanne Lamon, cond. 562- 

5733 

3 12:30pm. StarCité Gatineau. 19-26$. MetOp_HD, 


3 8pm. Knox Presbyterian Church, 120 Lisgar (at 

Elgin). $5-25. Christmas Stories. Bach: Christmas Oratorio, 

chorales; Arvo Pärt: Magnificat; Stephen 

Chatman: Carols of the Nativity; Christmas carol 

sing-along; readings: H.C. Andersen: The Little 

Match Girl; other Christmas stories. Cantata 

Singers of Ottawa; Michael Zaugg, cond.; 

Adrian Harewood, narrator. (7: 30pm talk: 

Michael Zaugg, cond.) 798-7113 

3 8pm. UofO Perez121. CV. Contemporary Music 

Ensemble (EMC2). 562-5733 

4 9:30am. NAC SH. 11-42$. Special Kinderconcert. A 

Christmas Carol. Pierre-Alexandre Saint-Yves, 

voice, flute, rauschpfeife, hurdy gurdy; Andrew 

Wells-Oberegger, voice, bouzouki, 

bagpipes, guitar, percussion; Chloé 

Dominguez, cello; Isabeau Proulx Lemire, 

actor. (English performance) 888-991-2787, 947- 

7000. (f 11am) 

4 11am. NAC SH. 11-42$. Special Kinderconcert. A 

Christmas Carol. (French performance) 888-991- 

2787, 947-7000. (h 9:30am) 

5 10am, 1pm. UofO Perez121. CV. Chamber Music 

Ensembles. 562-5733. (f 6) 

6 1pm. UofO Perez121. CV. chamber music ensembles. 

562-5733. (h 5) 

6 7:30pm. UofO Perez121. CV. Guitar class. 562-5733 

7 12pm. UofO Room 112 (formerly Tabaret Chapel), 550 

Cumberland (Tabaret Building). CV. A Musical Offering 

for Christmas. Schütz: Jauchzet dem Herren; Sweelinck: 

Hodie, Christus natus est; John Tavener: The 

Lamb; traditional hymns and carols: Quelle est cette 

odeur (arr. Willcocks); Il est ne le Divin Enfant (arr. 

John Rutter); Angelus (arr. Larkin); etc. Calixa Lavallée 

Ensemble; Choral Ensemble; etc.; Matthew 

Larkin, cond. 562-5733 

7 8pm. UofO Room 112 (formerly Tabaret Chapel), 550 

Cumberland (Tabaret Building). FA. Piano Duets & Duos. 

Class of Frédéric Lacroix, piano. 562-5733 

8 8pm. NAC SH. 12-95$. CTV Pops Series. A Ray Charles 

Tribute. NACO; Jeff Tyzik, cond.; Ellis Hall, piano, 

vocals. 888-991-2787, 947-7000. (f 10) 



10 7:30pm. Woodroffe United Church, 207 Woodroffe 

Ave. 12-15$. Christmas Carols. Adam: O Holy Night; 

Gruber: Stille Nacht; O Little Town of Bethlehem; etc. 

Stairwell Carollers, a cappella choir. 722-9250 

10 8pm. Église St-François-de-Sales, 799 Jacques- 

Cartier, angle Gréber, Gatineau. 20$. Évocation des 

cantiques de Noël. Charpentier: Messe de Minuit; 

Joseph-Julien Perrault: Deo Infanti; Lloyd Larson: Holy 

Night of Miracles. Choeur classique de 

l’Outaouais; Tiphaine Legrand, chef; Frédéric 

Lacroix, piano, orgue. 819-920-0350. (f 11) 

10 8pm. NAC SH. 12-95$. CTV Pops Series. NACO, Hall. 

888-991-2787, 947-7000. (h 8) 

11 4pm. Église St-François-de-Sales, 799 Jacques- 

Cartier, angle Gréber, Gatineau. 20$. Choeur classique 

Outaouais. 819-920-0350. (h 10) 

13, 14 7pm. NAC SH. 14-96$. Special Concerts Series. Handel: 

Messiah. NACO; Ottawa Festival Chorus; The 

Ewashko Singers; Trevor Pinnock, conductor; 

Lydia Teuscher, Jill Grove, Michael Colvin, 

Phillip Addis. 888-991-2787, 947-7000. 

16 2pm. UofO Perez121. FA. Astral Artist Mentorship 

Program. Piano Masterclass. André Laplante, pianist. 

(until 4pm) 562-5733 

16 7pm. NAC SH. 14-96$. Special Concerts Series. 

Gospel Christmas. NACO; Andrew Craig, cond., 

host; Sharon Riley and The Faith Chorale; 

Jackie Richardson, Kellylee Evans, Alana 

Bridgewater, Christopher Lowe, vocalists. 

888-991-2787, 947-7000 

17 1pm. StarCité Gatineau. 19-26$. MetOp_HD, Encore. 

Don Giovanni. (h 17 Montréal) 

18 2pm. National Gallery of Canada, Auditorium, 380 

Sussex Drive. 16-31$. Music for a Sunday Afternoon. 

Telemann: Overture-Suite for trumpet, oboe and 

strings D Major, “Tafelmusik”; Handel: Chaconne and 

Variations in G for harpsichord; Trio Sonata in B flat 

Major, op.2, #3; Scarlatti: Cantata Pastorale per la Natività. 

Members of the NACO; Lucy Crowe, soprano; 

Yosuke Kawasaki, violin; Charles 

Hamann, oboe; Karen Donnelly, trumpet; 

Trevor Pinnock, harpsichord. 888-991-2787 

28 11am. Coliseum Cinemas Ottawa, 3090 Carling 

Ave. 5-10$. MetOp_HD, Special Holiday Encores. Zauberflöte. 

596-9475. (h 28 Montréal) 

28 11am. SilverCity Cinemas Gloucester, 2385 City Park 

Drive, Gloucester. 5-10$. MetOp_HD, Special Holiday 

Encores. Zauberflöte. 688-8800. (h 28 Montréal) 

JANUARY 

5 8pm. NAC SH. 12-95$. 

Bostonian Bravo Series. Symphony of 

Dance. Haydn: Symphony #88; 

Beethoven: Piano Concerto #1; Symphony 

#7. NACO; Pietari Inkinen, 

cond.; Saleem Abboud Ashkar, piano. (Pre-concert 

music: Lindsay Bryden, flute) 888-991-2787, 947- 

7000. (f 6) 

6 8pm. NAC SH. 12-95$. 

Bostonian Bravo Series. NACO, 

Ashkar. (Pre-concert music: Lindsay 

Bryden, flute) 888-991-2787, 

947-7000. (h 5) 

11, 12 8pm. NAC SH. 12-95$. 

Ovation Series. Schubert: Symphony 

#8 “Unfinished”; Bruch: 

Scottish Fantasy for violin and orchestra; 

Beethoven: Symphony #6 

“Pastoral”. NACO; Alexander Shelley, cond.; 

Yosuke Kawasaki, violin. (Pre-concert music: 

Robin Best, harp) 888-991-2787, 947-7000. (f 12) 


Satyagraha. (h 14 Montréal) 

14 1:30pm, 3:30pm. NAC SH. 13-54$. TD Bank Group 

Family Adventures. The Mozart Experience. NACO; 

Richard Lee, cond.; Timmy Chooi, violin; 

Jason Nedecky, baritone; Magic Circle Mime 

Company; Maggie Peterson, Douglas Mac- 

Intyre, actors. (Free learn-and-play pre-concert 

activities) 888-991-2787, 947-7000. 

16 8pm. NAC SH. 14-96$. Great Performers Series. 

Beethoven: Egmont Overture; Violin Concerto; Elgar: 

“Enigma” Variations. Royal Philharmonic Orchestra; 

Pinchas Zukerman, cond., violin; 

Kirill Gerstein, piano. 888-991-2787, 947-7000 

17 8pm. NAC SH. 15-99$. Special Concerts Series. 

Bruch: Violin Concerto #1; Berlioz: Symphonie fantastique. 

NACO; Royal Philharmonic Orchestra; 

Pinchas Zukerman, cond., violin. (Pre-concert 

chat: Jean-Jacques Van Vlasselaer: “Tchaikovsky, the 

man”) 888-991-2787, 947-7000 

19 8pm. NAC SH. 12-95$. 

CTV Pops Series. Bond and Beyond. 

NACO; Michael Krajewski, 

cond.; Debbie Gravitte, vocals. 

888-991-2787, 947-7000. (f 21) 



21 8pm. NAC SH. 12-95$. 

CTV Pops Series. NACO, Gravitte. 

888-991-2787, 947-7000. (h 19) 

26 7pm. UofO AlumniAud. $5-10. Opera Productions. 

Mozart: Don Giovanni. University of Ottawa 

Opera Company; University of Ottawa 

Chamber Orchestra; Rennie Regehr, cond. 

562-5733. (f 27 28 29) 


UofO Opera, Don Giovanni. 562-5733. (h 26) 


Encore. Rodelinda. (h 3/12 Montréal) 



29 9:30am, 11am, 1:30pm, 3pm. NAC SH. 9-39$. 

Kinderconcerts. Head in the Clouds. Annabelle 

Renzo, harp. (3pm: French performance) 888- 

991-2787, 947-7000. 



FEBRUARY 

1 8pm. NAC SH. 12-95$. Mark Motors Audi Signature 

Series. Weber: Der Freischütz: overture; 

Mendelssohn: Violin Concerto; Sibelius: Symphony 

#2. NACO; Pinchas Zukerman, cond.; Viviane 

Hagner, violin. (Pre-concert chat: Jean-Jacques 

Van Vlasselaer: “When Romanticism Hits the Nation”) 

888-991-2787, 947-7000. (f 2) 

2 8pm. NAC SH. 12-95$. NACO, Hagner. (Pre-concert 

chat: Jean-Jacques Van Vlasselaer: “Quand le romantisme 

secous las nation”) 888-991-2787 (h 1) 


Faust. (h 10/12 Montréal) 

7 8pm. NAC SH. 12-75$. Great Performers Series. 

Liszt: Les Années de pèlerinage, Première et Deuxième 

années. Louis Lortie, piano. 888-991-2787, 

947-7000 

CBC Canadian Broadcasting Corporation. cbc.ca. 514- 

597-6000, 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. 514-382-3913. 

Montréal 91,3FM, Sherbrooke 100,3FM, Trois-Rivières 

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; 17h-18h Petites musiques pour..; 22h- 

23h Chant choral; 23h-24h Sans frontière; et pendant 

la nuit, reprises des émissions du jour 

CJFO station communautaire francophone, Ottawa- 

Gatineau. cjfofm.com. Dim 9h-12h La Mélomanie, 

musique classique, avec François Gauthier, melomanie@cjfofm.com 

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. 418- 

529-9026 

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. 514-597- 

6000. 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. 800-639- 

6391. Burlington 107.9FM; can be heard in Montreal 

DECEMBER 

3 12pm. Société Radio-Canada, Espace musique. 

L’opéra du Metropolitan Opera, New York. Handel: 

Rodelinda. Orchestre et Choeur du Metropolitan 

Opera de New York; Harry Bicket, chef; 

Renée Fleming, Stephanie Blythe, Adreas 

Scholl, Iestyn Davies, Joseph Kaiser, 

Shenyang. (En direct du Met NY) 

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SALUTE TO VIENNA 

Salute to Vienna 

by WAH KEUNG CHAN 

it takes a lot of hard work and dedication 

to organize 17 concerts in 16 cities, all 

happening within the span of four days 

around New Year’s. For the last 18 years, 

Attila Glatz Concert Productions has 

managed this feat through its highly successful 

Salute to Vienna concerts. The key to the 

success of Salute to Vienna is offering topquality 

singing and dancing to the lighthearted 

music of 19 th century Vienna (healthy 

helpings of the waltzes of Johann Strauss and 

Von Suppé). 

In each city, Glatz uses the best local orchestra 

and brings in the conductor, two 

singers and dancers from Europe. Auditioning 

and coordinating 120 soloists as well as 

multiple orchestras and venues is a huge undertaking. 

“We believe in presenting good 

singers, and we never repeat the same cast in 

the same market,” boasted Glatz, the Hungarian-born 

Canadian, who, with his wife Marion, 

has been the series’ driving force. 

It all began in 1995 with a concert in Toronto 

at the 1,000-seat Toronto Centre for the Arts. 

Both Marion and Attila had experienced the 

Viennese New Year celebration in their youth, 

and they wanted to bring that idea to Toronto. 

At that time, Attila already had over 10 years 

of concert production experience, having 

founded the Huntsville Festival of the Arts in 

1993 and was on the board of the North York 

Symphony. “We thought nobody would come 

on January 1 and that it would be a big financial 

risk to hold it in Roy Thomson Hall, so we 

held the concert in North York, with the North 

York Symphony,” said Glatz. 

That first concert must have tapped into a 

hidden demand, as it sold out almost immediately. 

“It was such a big success that Charles 

Cutts, president of Roy Thomson Hall, suggested 

we bring it to that bigger hall,” said 

Glatz. In its second year, Salute to Vienna not 

only expanded to a second city, it moved permanently 

to Roy Thomson Hall, selling out 

that venue every year. 

The third year of Salute to Vienna was expanded 

to five cities, including Vancouver and 

New York. “It was so risky I had to borrow the 

venue deposit for Lincoln Center from a 

friend—and thank god he gave it to me,” said 

Glatz. All five concerts sold out. “We now 

thought we had something, that this was a tradition,” 

Glatz explained. Encouraged, he then 

brought the idea to 15 cities in the fourth year, 

reaching a high of 33 cities at one point. 

A love of music, traced back to his youth, is 

evident when one talks to Glatz. At age four, 

Behind the Tradition of 

Clockwise from TOP: NEW YORK: Vienna Dancers; BOSTON 2004: tenor Jerry Hadley, soprano Helena Holl 

and conductor Manuel Hernandez Silva; FOUNDERS: Marion and Attila Glatz. 

he started playing the piano. “I just sat down 

and played a song, and then my parents took 

me to a teacher,” explained Glatz. At four and 

a half, he became a bit of a prodigy, giving concerts 

and studying piano and composition at 

the Franz Liszt Academy in Budapest. In his 

teens, Glatz took a liking to jazz. Through his 

music, he “was able to leave Hungary; because 

of communism, we all wanted to leave.” Glatz 

joined a group that left to play in West Germany 

for two years. Later, he signed a contract 

to play in Canada and he immigrated. Glatz 

subsequently became the national concert organist 

for the Hammond Organ Company and 

toured all over Canada. 

Glatz was performing when he met Marion. 

“I was playing piano in a ski resort in Switzerland, 

and she was just on holiday there,” said 

Glatz. Born in Berlin to a Viennese father and 

a Polish mother, Marion grew up with a passion 

for both business (receiving a Master of 

Business diploma in Nuremburg) and the arts. 

In Munich, Marion worked in the recording 

and publishing industry for 19 years. “She was 

a really big classical music fan and we went to 

a lot of concerts,” said Glatz. “I started to like 

classical music again and I felt I was going 

back to my roots.” In 1983, after going back 

and forth between Canada and Munich, Marion 

joined Glatz permanently in Toronto to 

start their concert production business. 

According to Glatz, the New Year’s concert 

has always been a tradition in Europe. “The 

concert in Vienna is televised to 1.3 billion 

people all over the world,” said Glatz. Aside 

from Japan, where visiting Viennese orchestras 

have developed a following, that tradition 

was non-existent outside of Europe. The 

Glatz’s saw an opportunity, but rejected franchising 

out the idea. So far, he has had a monopoly 

on North America, establishing Salute 

to Vienna in all the major markets, such as Los 

Angeles, New York, Chicago, Washington, 

Philadelphia, Florida and San Diego. “It’s all 

over Canada, from Montreal to Vancouver; 

last year, we added Quebec City, which was 

sold out,” he confirmed. Although they don’t 

receive any financial support from Vienna or 

the Austrian government, Glatz has the endorsement 

of the city’s mayor, as well as the 

president and chancellor of Austria. Glatz is 

now looking to expand to Australia, South 

America and, possibly, Asia. 

Although organizing Salute to Vienna is already 

a yearlong undertaking, Glatz also promotes 

other concerts. Five years ago, Glatz 

teamed up with Roy Thomson Hall for Bravissimo!, 

an annual opera gala in Toronto modeled 

on the millennium opera gala that took 

place in 2000. “When we moved it to New 

Year’s Eve two years ago, it became really popular,” 

said Glatz. Last month, Glatz presented 

Canadian composer Zane Zalis’s Holocaust oratorio 

i believe to a sold-out Roy Thomson 

Hall, and he hopes to take it to other cities. 

“Business is one thing and music is another. 

In my heart, I’m still a musician.” 

LSM 

Salute to Vienna, Dec. 30 to Jan. 2. Vancouver, 

Calgary, Edmonton, Toronto, Montreal, Quebec City 

www.salutetovienna.com 

36 


FUNDRAISING 

Concert against Cancer 

A success story 


the Concert contre le Cancer (Concert Against Cancer), the primary 

source of funding for the Institut du cancer de Montréal, 

celebrates its fifth anniversary this February. In five years, the 

dedication of its volunteers and its director-general, Maral 

Tersakian, as well as its shock advertising campaign showing 

composers with bald heads, has made it a success. 

The last two editions have raised between 

$550,000 and $570,000 each. 

“We found a winning formula,” says 

Maral Tersakian. “It draws as many business 

heads and classical music lovers as 

it does members of the general public 

who have never gone to a symphonic concert, 

and may never otherwise have, but 

are motivated by the fight against cancer.” 

This is one charity event that is accessible 

to all budgets; ticket prices run from 

$35 . . . up to $2,500! 

“We didn’t want to make it an elitist 

soirée,” says Mrs. Tersakian. “To thank 

our diamond and silver partners for their 

more generous donations, we organize a 

VIP cocktail before the concert.” 

This annual event has also helped 

bring the Institute to the greater public. 

“I often speak to people who call to purchase 

tickets, and many of them have been intimately affected by the 

disease,” explains the director. “ Four sisters and their spouses bought 

tickets because their sister had died of cancer the year before. This was 

their way of commemorating a tragic anniversary.” 

How it all got started 

Walks, balls, bike rallies – there is already a host of activities and 

events dedicated to raising funds to fight cancer. Those at the Institute 

asked themselves what they could do to raise money that would 

stand out. Why not a classical music concert? It was also an excellent 

way to celebrate the organization’s 60 th anniversary 

“Looking at a profile of our donors, we found that they are educated, 

well established, and of a certain age,” says Mrs. Tersakian. “We 

thought a symphony concert corresponded well to this profile.” 

Ambitious from the start, the first concert was held in Salle Wilfrid- 

Pelletier. “We had the chance to pair Yannick Nézet-Séguin and Louis 

Lortie, who played together for the first time. It was a success,” she recalls. 

It wasn’t until the second year that the event took its current name 

of “Concert contre le cancer”. Marketing firm kbs+p had the ingenious 

idea of putting Mozart with a bald head on the ads. “It had an extraordinary 

media impact,” adds the director. Since then, Verdi and 

Strauss (and for the next campaign, Bizet) have had their heads shaved 

to support the cause. 

The Institut du cancer de Montréal was founded in 1947, making it 

the first francophone cancer research institute in North America. But 

with the creation of the CHUM (the University of Montreal Hospital 

Centre), its mission changed and the foundation’s aim changed to supporting 

the CHUM research centre. 

“It’s a relatively small foundation,” says Maral Tersakian. “We addressed 

the need to target our efforts, and we decided to create the program 

Rapatriement de cerveaux (Repatriating Brains). As a society, we 

lose a lot of scientists trained in our universities. They go elsewhere to do 

postdoctoral studies 

and never come back 

to Quebec because 

there isn’t as much 

funding and start-up 

capital for research 

here as in other countries.” 

The program has 

made good on its 

promise; in the last 

four years, five toplevel 

researchers 

have come back to 

settle here. 

The concept of 

bringing scientists 

back into the fold has 

been very well received 

in the business 

community. The 

Institute easily recruited prestigious members of the business community 

to be part of the campaign’s office and donate, sign letters, and 

open doors. 

“The businesspeople who get involved with or donate money to a 

cause want to know what is done with the money to ensure that it’s 

used effectively,” explains Mrs. Tersakian. “A researcher who settles 

here becomes like an SME over time. He or she receives funding and 

hires staff. This means in addition to advancing scientific research, 

we’re stimulating economic activity as well. By adding a classical music 

concert to finance the program, we find ourselves with many ingredients 

that contribute to success. When you have an interesting and wellorganized 

project, people want to participate.” 

Furthermore, the organization reduced its operating costs to a minimum 

by soliciting sponsorships for the material necessary to the ad 

campaign. “Everything that we’ve gotten for free from the media and 

from suppliers is a key to success,” she adds. “I spend six months of the 

year negotiating all that.” 

“It draws as many business 

heads and classical 

music lovers as it 

does members of the 

general public who 

have never gone to a 

symphonic concert, 

but are motivated by 

the fight against 

cancer.” 

- MARAL TERSAKIAN, 

director-general of the Institut 

du cancer de Montréal. 

PHOTO Luc Lauzière - Multimédia CHUM 

The upcoming Concert Against Cancer will take place February 3, 2012, at 8 p.m. 

and will be held for the first time at Montreal’s Maison Symphonique. The audience 

will hear the Metropolitan Orchestra, under the baton of Stéphane Laforest, soprano 

Marie-Josée Lord, and violinist Marie-Ève Poupart playing a program of works by 

Bizet, Puccini, Gershwin, Gilles Vigneault, and Starmania’s Le monde est stone. 


LSM 


jazz 

Jazz is particularly fond 

of heroes. Often larger 

than life, they are both 

objects of praise and 

scrutiny, on stage and 

on record. Yet, for each one of those, 

there are legions of workmanlike 

players who deserve a place in the 

sun. In Montreal, for instance, saxophonist 

Frank Lozano qualifies as a 

true musician’s musician. Since his 

arrival from Toronto some 20 years 

ago, this multi-instrumentalist (who 

plays both tenor and soprano 

as well as bass clarinet and 

flute) is one of the city’s most 

dependable jazz journeymen. 

Appreciated by his colleagues, 

he fits like a glove in a variety 

of situations, ranging from 

standard jazz practices to 

more exploratory forms of 

music making. With his name 

gracing five records issued 

over the last couple of months, one 

of these casting him in the more 

infrequent role of band leader, 2011 

seems to be a banner year. Taking 

time from his busy schedule, he sat 

down with this writer one morning 

to share some valuable insights, offering 

an insider’s perspective on 

each of these productions. 

» Frank Lozano Montreal Quartet – 

Destin (Effendi FND 113) 

In 2007, I put out my first record as leader 

(Colour Fields) with musicians from Ottawa 

and Toronto; that explains for the most part 

why I called this one ‘Montreal Quartet’. Being 

a sideman for me means interpreting someone 

else’s vision as faithfully as possible. 

When it comes to being a leader, I see it as a 

shift in function. But my sideman experience 

serves me well here, because I can put myself 

very easily in my bandmates’ shoes. When 

presenting your own music, there is added 

responsibility for sure; it’s much more personal, 

closer to you. I have to say I’m very 

happy about this record because we did it the 

right way: we played a year and a half before 

making it. 

» Autour de Bill Evans (FND 112) 

This group was my idea. I act as its musical 

director but don’t consider myself the leader. 

If someone is, it’s Bill Evans. Three, four years 

ago, Pierre Tanguay (drummer of this group) 

asked me put a trio together with bassist 

Michel Donato to perform in Rimouski for its 

off jazz festival. We played standards, and it 

Frank LOZANO 

More than just a sideman 

by MARC CHÉNARD 

PHOTO Jean-Pierre Dubé 

went so well I felt we could do more. I wanted 

to take it a step further. Michel loves Bill 

Evans, he even played once with him (and 

Philly Joe Jones) back in 1977, so that was the 

impetus. François Bourassa came into the picture 

later, but he was part of my band by then. 

I was surprised that he and Michel had never 

played together, and it seemed like a perfect 

fit. It clicked from the get go. It’s worth mentioning 

the record is called ‘Autour de Bill 

Evans’ (i.e. ‘Around…’), so it’s not a tribute 

band covering just his tunes but others associated 

with him. That opens up the repertoire. 

» Auguste Quartet – Homos Pugnax (FND 115) 

I’ve been part of (bassist and label boss) 

Alain Bédard’s band for years now, but not on 

a continual basis, of course. (It dates back to 

the mid-1990s, pre-Effendi days.) This album 

differs from the previous ones in that we were 

tackling material not previously road tested, 

or very little at least. When I record, I try to 

memorize pieces, especially standards; it’s one 

less barrier to deal with. Here we were dealing 

with charts, some actually quite difficult, 

like “Casse-pattes” (second track), a 

crazy tune full of odd meters, with the 

one (downbeat) often not marked. 

But we got through them in two or 

three takes for each. When you do 

more, it’s over. It’s like a romantic 

session: if the phone rings more than 

twice, then ‘forget it, let’s try some 

other time’! 

» Josh Rager – Kananasakis (FND 116) 

I was on his previous sextet date for 

the label (Time and Time Again), but 

I am guest player on only one track, 

Billy Strayhorn’s “U.M.M.G.” (short 

for “Upper Manhattan Medical 

Group”). The piece was sort of in 

my head, but I’d never really 

learnt it, so I had to. Then Josh 

said he wanted to play it in 7/4 

time rather than the usual 4/4 

(which means playing with the 

note durations to make it fit in 

alternating 4- and 3-beat measures). 

First we discussed it on 

the phone, he sang it to me and then 

tried it out once during a session with 

musicians different from those on the 

record. For the record, we did three 

takes, two were kept and Josh made 

the final pick. 

» Thom Gossage Other Voices – In 

Other Words (Songlines 1591-2) 

Thom’s music is always challenging, 

but he’s so on the money: he’s the kind 

of guy who is listening to every little 

thing everybody is doing. Over the last 

five years, he’s taken his vision of the music, or 

the sound in which he wants to express himself, 

and has changed it to make it fit us to a certain 

extent. But it’s not a matter of writing this or that 

for me because that’s what I like to do, but it’s 

more ‘I hear this in Frank, so I will pull it out of 

him’. We rehearsed a lot, four or five times 

before going to the studio, and did it all in a single 

day, though we were all wasted by the end of 

it. The nice thing, though, is that in spite of its 

difficulty, you come out of it somewhat transformed. 

And that’s why I hired Thom to be part 

of my own band. This record is really about limitations 

and oppositions. There are sections that 

might appear completely open when we’re really 

working on a very specific idea of group architecture, 

with independent voices. Once you get 

inside the bubble, the limitations are very interesting. 

It’s paradoxical in a way, yet those limitations 

give added depth. 

Read complete interview transcript at: 

http://jazzblog.scena.org 

LSM 

38 


«Montreal 

mainstreaming 

by ANNIE LANDREVILLE 

Alexandre Côté: Transitions 

Effendi FND 114 (www.effendirecords.com) 

★★★★✩✩ 

Much in demand as a 

sideman, saxophonist 

Alexandre Côté has 

finally issued a first 

recording under his own 

name. This veteran of 

some 40 record sessions 

also teaches at the St- 

Laurent Cegep. In 2012 he was heard on Rémi 

Bolduc’s disc Hommage à Charlie Parker, this 

year’s winner of a Félix award for jazz. Last summer 

Côté earned the TD Jazz Award at Montreal’s 

international Jazz Festival, which lead 

him to record the present album. He is ably 

assisted here by Jonathan Cayer (piano), Dave 

Mossing (trumpet), Kevin Warren (drums) and 

Dave Watts (bass), with tenor saxophonist 

David Bellemare guesting on two tracks. Its title, 

Transitions, indicates a shift to a leader’s role 

from a musician who has earned his sideman 

stripes over the years. It is as much a record 

geared towards the future as the past, and of the 

pieces two pay tribute to influential figures on 

his development, namely, “Blues pour Ornette,” 

and “Wayne’s Spirit” (the latter with a sterling 

alto solo), with a nod to the birthplace of jazz in 

“New Orleans Groove.” He is heard on alto 

throughout, his main axe. His broad musical 

knowledge allows him to strike a perfect balance 

between modern jazz, which is now classic in its 

own right, and his own leanings towards more 

contemporary styles. Let’s hope he doesn’t wait 

too long to follow up on this fine first effort! 

Steve Amirault: One existence 

Self-produced by the artist (www.steveamirault.com) 

★★★✩✩✩ 

Steve Amirault is one of 

the top jazz pianomen 

in Montreal. At once 

versatile and precise, he 

knows how to impress 

listeners when performing. 

For some time now, this Acadian-born pianist 

has been writing songs, but he has 

decided to take the plunge and record them 

himself. All but one track are penned by him, 

the exception being the music to “Live to 

Love”, written by his guitarist brother Greg. 

This is very much a do-it-yourself endeavour, 

and the album was subsidized through presales. 

On it he is ably backed by bassist Rémi- 

Jean Leblanc and drummer Samuel Joly. All 

but two tracks have English lyrics; the exceptions 

are sung in French (albeit a little awkwardly), 

one in tribute to his grandmother, the 

other to Acadian history. There’s a pop tinge to 

the music but it’s still firmly rooted in jazz. 

Steve Amirault has an interesting voice, deep 

toned, with a solid grasp of melody, somewhere 

between that of a crooner and a singer 

of musicals. The melodies are fine indeed but 

off the record 

not devoid of clichés. “Heroes”, which lasts 

over nine minutes, is the only cut where the 

trio stretches out, and the group’s presence is 

better felt here as is the case when on stage, 

where Amirault the singer is far more convincing. 

TRANSLATION: ELISABETH GILLIES 

Taurey Butler: Taurey Butler 

Justin Time JUST 242 (www.justin-time.com) 

★★★✩✩✩ 

Taurey Butler is without 

question a flamboyant 

pianist. His playing is at 

once energetic, voluble, 

at times excessive, as if 

he wants to cram all existing 

notes onto one 

disc. A very melodic 

player and a hard swinger to boot, he’s definitely 

influenced by Oscar Peterson, to the 

point of fully assuming his role model’s 

stylings. On this debut, he alternates between 

old evergreens like “Moonlight in Vermont” 

and “The Lady is a Tramp”, and originals very 

much in keeping with the standard jazz idiom. 

Taurey Butler likes solid melodies and plays 

his own tunes with lots of expression, for instance 

“Grandpa Ted’s Tune” and “The 

Preacher,” the latter very well rendered and 

with an authentic gospel feel to it. His trio 

mates, drummer Walli Muhammad and 

bassist Éric Lagacé, are discreet in their supporting 

roles, and take only brief yet faultlessly 

played solos. 


Improv 

«and beyond 


Mecha Fixes Clock: Teoria dell’elastica 

di Girolamo Papariello 

Ambiances magnétiques CD 202 

(www.coactuelle.com) 

★★★★✩✩ 

Percussionist Michel-F. 

Côté is one musician 

who invests himself in 

projects of every shape 

and size, be they theatre 

and dance, free acoustic 

and electronic improvisation, 

or carefully conceived 

orchestral works. This last area of 

interest defines the newest recording of his ensemble 

Mecha Fixes Clock. This outfit of 11 

players includes seven strings, three winds and 

as many musicians on electronics, including 

the leader. Each of the seven tracks of this 

rather brief side evokes a kind of ethereal 

soundscape. On his kit, Côté beats out an essentially 

binary pulse indicative of his musical 

background in alternative rock. Given this the 

listener should not expect any free jazz outbreaks, 

nor swirling collective improvisations, 

but a very tight group discipline more characteristic 

of contemporary chamber music. At 42 

minutes, this disc might seem short at first 

glance, but its length is in fact adequate, as the 

music operates within more restricted dynamic 

confines. TRANSLATION: ARIADNE LIH 

maïkotron unit: Ex-Voto 

Rant 140 (www.jazzfromrant.com) 

★★★★✩✩ 

The maïkotron Unit, 

winners of the François- 

Marcaurelle prize at this 

year’s Off Festival de 

jazz, is one of the most 

durable yet least wellknown 

improvisational 

ensembles in Quebec. 

Founded in the 1980s, the trio issued its seventh 

release last spring and first CD, all previous ones 

issued in LP format. The maïkotron is a somewhat 

unwieldy sounding brass instrument invented 

by the group’s reedman Michel Côté: 

comprised of a series of valves and a saxophone 

mouthpiece, it produces low buzzing tones in the 

bass clarinet or contrabass clarinet range (both of 

which Côté plays). Both he and his brother Pierre 

(on cello and bass) are stalwarts of the Quebec 

City jazz scene; drummer Michel Lambert, also a 

native of the province’s capital, spent many years 

in Toronto before settling in Montreal. The main 

source of inspiration here are 12 ex-voto style 

paintings created by the drummer, illustrated inside 

the sleeve. All told, there are 20 pieces contained 

in this 58-minute side, some atmospheric 

in nature, others more rhythmic, particularly 

those featuring the soprano sax. Oddly enough, 

the maïkotron, played by the two Michels, is not 

heard very prominently. Because there are so 

many short pieces (only one exceeds 5 minutes), 

the musicians seem more content to establish 

moods than trying to develop them. Having listened 

to the recording prior to attending their recent 

live performance, I had hoped that this team 

would stretch out more, which they did, but it 

still fell short in getting the music to lift. 

TRANS.: DAYNA LAMOTHE 


JAZZ 

REVIEWS 

News from Europe 

Dutch strings 

by MARK CHODAN 

ΩDanish combosΩ 


Once known as a haven for expatriate American boppers in the golden 

days of the 1960s, the Danish capital Copenhagen has long since 

turned the page, thanks to a younger generation of native talents 

trained at the city’s Rhythmic Conservatory. Here are but two examples 

of contemporary jazz emerging from this still very dynamic music 

capital. 

Jacob Anderskov Accident : Full Circle 

Ilk 178CD (www.ilkmusic.com) 

★★★★✩✩ 

Caught last summer at its jazz festival, the ensemble 

of Copenhagen’s pianist composer 

Jacob Anderskov (Accident) was one of this 

writer’s personal highlights. Five months previous 

to the show of his seven-piece band, it 

recorded the following album at another of the 

city’s venues, minus one saxophone player. 

What’s more the leader is heard here on an 

electric keyboard (the Wurlitzer) rather than standard acoustic grand. 

Fueled by the clatterings of American drummer Tom Rainey, the 

group interprets somewhat slow unfolding orchestral passages that 

create considerable tension, especially when the soloists break loose, 

most notably the no-holds-barred outpourings of alto saxophonist 

Laura Toxværd, closely followed by the leader’s keyboard excursions. 

In fact, these two players largely dominate this session, though the 

drummer is given a generous solo spot in the closing number 

“Pyschotonalities”. Five cuts ranging from eight to eleven minutes 

grace this medium-length side, seconds shy of the 50-minute mark. 

Hybrid 10tet : On the Move 

BBBCD14 (www.michielbraam.com) 

★★★★✩✩ 

The Hybrid 10tet is an ensemble led by Dutch 

pianist Michiel Braam. The ‘hybrid’ aspect 

comes from the pairing of musicians from different 

musical domains: jazz-based improvisation 

(horns), rock (rhythm section) and 

European concert hall music (strings) plus, on 

piano, Braam himself, who penned all pieces (9 

in total). The line between written and instant composition is not 

clearly delineated: it is always nice to hear music in the jazz/improv 

domain where the listener can ponder the written/instant composition 

question, safely conclude “who cares?” and just focus on enjoying 

the results. Braam is a tremendously talented pianist, as anyone who 

has seen him live can attest (some may have heard him in Montreal 

last October with his trio). This recording is evidence that his compositional 

skills are as interesting and quirky as his playing. As eccentric 

as some moments on this disc may seem, the music fortunately steers 

clear of any over-indulgence in the corny humour that the Dutch 

Bimhuis musicians are known for. At times, the three different components 

of the ensemble work together surprisingly well, despite 

obvious dynamic differences between the instruments (strings versus 

rock-ish rhythm section). What’s more, the leader propels his musicians, 

who in turn follow him to fertile sonic grounds. His compositions 

also have drive, and there’s everything from tango to mid-70s 

Miles Davis-inspired grooves, but always filtered through Braam’s personal 

and unpredictable signature sound. Overall, On the Move is a 

jarringly diverse yet cohesive set of compositions that mark a fantastic 

musical ride on which Braam set out to take us. 

Ig Henneman Sextet : Cut a Caper 

Wig 19 (www.stichtingwig.com) 

★★★✩✩✩ 

Violist Ig Henneman is somewhat of an unsung 

hero on the Dutch jazz/improv scene. Cut a 

Caper is her latest release after a recent 5 CD and 

1 DVD box set Collected, documenting her 

recorded output since 1985 and celebrating her 

65th birthday. At the core of this international 

ensemble are the members of her Queen Mab 

trio (with Canadians Lori Freedman, clarinets, 

and Marilyn Lerner, piano), with Dutch stalwarts bassist Wilbert de 

Joode, reedman Ab Baars, and German trumpeter Axel Dörner in tow. 

The drummerless format plants this session clearly in chamber jazz territory, 

with equal parts of jazz and contemporary music. This is not music 

that draws the listener in, but rather demands some effort in penetrating 

its icy shell. This may be due, at least to some degree, to the arrangements 

where instruments play in a similar range for long periods of time, 

giving it a lightness that one would not expect from a sextet, but at the 

same time making it sound rather austere, at times downright humourless 

(very unlike the Dutch, known for their whimsical nature). Other 

sections move at an extremely slow pace, again requiring both intense 

concentration and considerable patience. However, such misgivings can 

be set aside based on the strength of the musicianship involved. Repeated 

and concentrated listenings actually reveal fragile compositions of great 

complexity, and the musicians navigate these with all of the skill for 

which they are known. 

But given the overall intensity of this session, the net impact is greater 

on the listener, ultimately less wearing than a longer duration would 

have been. Indeed, there’s much more to contemporary jazz than 

warmed over post-bop formulas, and here’s some proof positive. 

Definitely jazz for the new century. 

Markus Pesonen : Hum 

Unit Records UTR 4297 (www.unitrecords.com) 

★★★★✩✩ 

From the septet of the previous disc, we move 

on to a “Hendectet,” an eleven-piece group 

headed by a young Finnish guitarist, Markus 

Pesonen. His debut release, issued last summer 

on the Swiss label Unit Records, is, to say the 

least, an ambitious first move, with a program 

of six originals and two covers, the latter being 

Mingus’s dedicatory evergreen to Lester Young (“Goodbye Porkpie 

Hat”) and an unlikely closer, the Beatles’ “A Day in the Life”, complete 

with its dreamy lyrics and delirious sonic outburst, reminiscent 

of the original. Like many emerging artists, Pesonen wants to show us 

all he can do as a composer-arranger, maybe a little too much: from 

the rock-ish band energy of the opener “CO2”, the music goes from the 

ethereal to a quasi-free-jazz power play in “Hullun Paperit”, then on 

to some full-throttle jazz swinging in “Sugar Rush” and so on, lest we 

forget the Mingus-derived collective improvisation of his tune, or his 

take on the Fab Four’s psychedelic pop hit. Apart from the listing of 

personnel, there are no band pictures or liner notes in this disc (giving 

us a bit of background wouldn’t have hurt, but then again there are 

artist Websites to cover that now.) Also worth noting in this production 

is the ecologically friendly cardboard sleeve, including a pretty 

ingenious inset to slot in the disc. 

40 


Normand Guilbeault 

at Dièse Onze, 

2 nd and 3 rd 

and at 

Upstairs 

on the 

JAZZ+ 

jazz@scena.org 

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. 

Thur. 1 » Marianne Trudel & friends. [Artist of the 

month at the Resto-bar Dièse Onze. 223-4533] 8:30 

(Return performances on Thurs. 8 and 15.) 

Fri. 2 » Oliver Jones and Ranee Lee. (Opening act for 

Diane Warwick.) Théâtre Maisonneuve, Place des Arts. 

8:00 

» Jazzer Noël, pianist James Gelfand plays Christmas 

favourites. Chapelle historique du Bon-Pasteur. 8:30 

[872-5338] (Return performances on Wed. 21 at l’Espace 

Deschamps.) 

Fri. 2, Sat. 3 » The Châteauguay Tenors (Cameron 

Wallis and Al McLean) with spécial from New York, 

baritone saxophonist Gary Smulyan. Upstairs Jazz 

Bar. (Two shows per night at 7:00 and 10:00. Reservations: 

931-6808) 

» Ensemble Normand Guilbeault, Hommage à Mingus. 

Resto-bar le dièse onze. 8:30 

Sat. 3, Sun. 4 » Plans d’immanence (Free improvised 

music performed on baroque instruments.) Chapelle 

historique du Bon-Pasteur. 8:00 

Dim. 4 » Double bill: Rainer Wiens (solo guitar) followed 

by bassist Nicolas Caloia and his group Ring. 

Casa del Popolo. 9:00 [284-0122] 

Tue. 6 » Trumpeter Kevin Dean presents The Next Generation. 

Upstairs Jazz Bar. 8:30 

» Les mardis Spaghetti, weekly improvised music series 

at the Cagibi. 9:00 [Schedule online at: 

myspace.com/mardispaghetti 

Wed. 7 » Mercerdismusics, weekly improvised music 

series at the Casa Obscura. 9:00 Schedule on line at: 

www.casaobscura.com 

Thur. 8 » Thomas Carbou’s Hekate trio (with Eric 

Hove, alto sax and Jim Doxas, drs.) Upstairs. 8:30 

Fri. 9, Sat. 10 » François Bourassa Quartet. Upstairs. 8:30 

» Samuel Blais (alto sax) and Friends. » Resto-bar le 

dièse onze. 8:30 

» From Berlin, tubist Robin Heyward and guests. L’envers. 

9:00 [Info and schedule online at: 

lenvers185.blogspot.com 

Wed. 14 » Pianist Jérome Beaulieu and his trio. Upstairs. 

8:30 

» Record launch and performance by the Toronto vocalist 

Lara Solnick. Resto-bar le dièse onze. 9:00 

Thur. 15 » Vocalist Emma Frank and her band. Upstairs. 

8:30 

Fri. 16 » Two solos : Ottawa saxophonist Lindsey Wellman 

and Montreal violinist Malcolm Goldstein. 9:00 

Fri. 16, Sat. 17 » Lorraine Desmarais trio and special 

guest, alto saxophonist Jean-Pierre Zanella, Christmas 

music concert. Upstairs. 8:30 

» Tenor saxophonist Yannick Rieu and his trio. Restobar 

le dièse onze. 8:30 

Sat. 17 » Ottawa saxophonist Bernard Stépien and 

his perform perform: “A Very Ayler Christmas”. L’envers. 

(Information on this project online at: 

site.uottawa.ca/~bernard/ayler_christmas.html 

Tue. 20 » Lori and the Blue Mangoes. (With Lori 

Freedman, clarinets., Nicolas Caloia, bass, Bernard 

Falaise, guitar and Michel-F. Côté, drums.) Casa del 

Popolo. 9:00 (Improvised music.) 

Wed. 21 » Jazzer Noël. Pianist James Gelfand plays 

Christmas favourites. Place Deschamps. Two set at 5:00 

and 10:00. 260 de Maisonneuve Ouest. 285-4200 

Thur. 22 » Bassist Normand Guilbeault and his trio 

(with Normand Deveault, piano, and Claude Lavergne, 

drums.) Upstairs. 8:30 

Thur. 29 » Vocalist Dessy di Lauro and her musicians. 

Upstairs Jazz Bar. 8:30 

Sat 31 » Jazzin’ in the New Year with vocalist Dawn 

Tyler Watson. Upstairs. 8:30 (Reservations: 931-6808) 

JAZZ 

CALENDAR 

LOOKING AHEAD: JANUARY 2012 

Sat. 7 » Trombonist Muhmmad al Khabbyr. Upstairs. 8:30 

Mon. 9 » Nozen (The Damian Nisenson quartet). 

Casa del Popolo. 9:00 

Thur 12 » Pierre Labbé and Sacré Tympan-Vertiges. 

Maison de la culture Frontenac. 8:00 [872-7882] 

(Workshop and performance directed by composer and 

saxophonist Pierre Labbé. With Frank Lozano, saxophones, 

François Bourassa, piano, Clinton Ryder, bass, 

Pierre Tanguay, drums and Steve Regeale, guitar.) 

Fri. 13 » Vocalist Jeri Brown and her trio. Upstairs. 8:30 

Sam. 14 » Guitarist Richard Ring and his musicians. 

Tribute to trumpeter Tom Harrell. Upstairs. 8:30 

Thur. 19 » Pianist Joshua Rager performs music from 

his new record Kanansakis. Upstairs. 8:30 

Sun. 22 » Guitarist Carlo Jimenez and his band. 

Power Jazz Series, Segal Centre. 8:00. 739-7944 

22 nd AT THE HEART OF JAZZ 

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: 

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: 

FRANÇOIS BOURASSA 

IDIOSYNCRASIE (FND111) 

ALEXANDRE CÔTÉ 

TRANSITIONS (FND114) 

DONATO-BOURASSA-LOZANO-TANGUAY 

AUTOUR DE BILL EVANS 

(FND112) 

ALAIN BÉDARD AUGUSTE QUARTET 

HOMOS PUGNAX (FND115) 

SAMUEL BLAIS 

WWW.EFFENDI R E C O R D S .COM 

DESTINS (FND113) 

JOSH RAGER 

KANANASKIS (FND116) 


REVIEWS 

» cds • dvds• books 

A Napoli 

Marc Hervieux, tenor; Louise-Andrée Baril, piano & 

orchestral arranger 

ATMA Classique ACD2 2620 

★★★★✩✩ 

One of the most versatile 

tenors in Canada, Marc 

Hervieux is at home in a 

variety of genres, from 

opera and oratorio to the 

pop field, including success 

in the blockbuster 

rock opera Starmania. 

For ATMA he has recorded an opera aria disc 

with Yannick Nézet-Séguin and a Christmas 

album. Here is his third, a collection of fifteen 

beloved Neapolitan songs, supported by ten 

Québecois musicians led by Louise-Andrée Baril. 

Given his robust tenor with a decidedly Italianate 

timbre that occasionally recalls a young Domingo, 

these Neapolitan songs are tailor-made for him. 

No, it’s not note-perfect— the passaggio and the 

top can sound a little uncomfortable, and he 

sometimes croons, but he sings everything with 

passion and gusto, two welcome qualities in this 

repertoire. Baril is responsible for the orchestral 

arrangements— occasionally one is in danger of 

an overdose of sweetness and sentimentality, but 

that goes with the territory! Incidentally, 

Hervieux dedicates the disc to music philanthropist 

Jacqueline Desmarais, who has been a 

champion of the tenor from the beginning of his 

career. Fans of Hervieux will find this disc most 

entertaining and an excellent choice as a Christmas 

stocking stuffer. 

Joseph K. So 

Bach: Cantatas BWV 54 & 170/Suite in A minor 

BWV 1067/Double Concerto BWV 1060 

Daniel Taylor, countertenor; Tafelmusik/Jeanne Lamon 

Analekta AN 2 9878 (68 min 46 s) 

★★★★★✩ 

Analekta has presented 

us with two of Bach’s 

most beautiful cantatas 

for alto. With “Pleasant 

rest” BWV 170 for oboe 

d’amore, organ obbligato 

and strings, we immediately 

fall into a state 

of grace, and remain there until the end of this 

magnificent recording. What lovely sounds, 

lights and shadow that caress the soul, tears 

and joy inspired by a heavenly moment! Daniel 

Taylor sings with great artistry and demonstrates 

perfect mastery of his pure voice. The 

countertenor seems to surrender completely to 

the music. The same attention is accorded to 

BWV 54, “Just resist sin”. More staccato in the 

strings could have better highlighted the text; 

however, we are swept up by the rich timbre 

42 


and the mind surrenders. Next, BWV 1067 is 

performed in a version for violin and strings. 

Such elegance in the rondeau, tenderness in 

the sarabande! Jeanne Lamon conducts her 

ensemble (one instrument per part) with such 

skill that the version for flute is forgotten. The 

BWV 1060 is also absolutely superb. By contrast, 

the sorry look of the record sleeve does 

not do justice to the quality of the performers 

it represents. 

RENÉ F. AUCLAIR 

Bartok: Violin Concerto No. 1/ 

Violin Concerto No. 2/Viola Concerto 

James Ehnes, violin and viola; BBC Philharmonic/ 

Gianandrea Noseda 

Chandos CHAN 10690 (77 min 45 s) 

★★★★✩✩ 

Canadian violinist James 

Ehnes has moved very 

rapidly to the forefront of 

the ranks of the world’s 

great violinists. He is at 

home in a wide repertoire 

and plays with both maturity 

and virtuosity. This 

Bartok album is surely one of his best so far as he 

demonstrates prowess on both violin and viola. 

Bartok’s Violin Concerto No. 2 is “the” Bartok 

Violin Concerto and is well established as a 

Twentieth Century masterpiece. The Violin 

Concerto No. 1, an early work, is far less well 

known. The Violin Concerto No. 2 is a far more 

varied and original piece, but the earlier concerto 

has charms of its own and deserves more 

performances. Ehnes plays both of them on the 

1715 “Marsick” Stradivarius, with a remarkably 

rich tone and complete understanding of the idioms. 

Noseda and his orchestra are wonderful 

and the sound quality on this disc is excellent. 

The Viola Concerto was left incomplete 

when the composer died, but Tibor Serly produced 

a performing version from the sketches, 

which is the version Ehnes used. It is a 

beautiful piece, and Ehnes gives a fine 

performance. 

PAUL E. ROBINSON 

Brahms on Brass: 

Waltzes Op. 39/Ballade in D minor Op. 10 

No.1/Eleven Chorale Preludes Op. 122 

Canadian Brass 

Opening Day ODR 7415 (50 min 25 s) 

★★★✩✩✩ 

The Canadian Brass has 

now become one of the 

oldest ensembles of its 

kind. After 40 years it is 

not surprising that there 

have been changes in 

personnel—tubist Chuck 

Daellenbach is now the only original member 

left in the group – but the same high standards 

and astonishing versatility remain intact. 

But Brahms on Brass? And an entire album? 

The Canadian Brass has always been innovative 

in its choice of repertoire, but this is a real 

stretch. The composer’s contrapuntal proclivities 

and preference for darker colours work 

against the idea of brass transcription. However, 

I was pleasantly surprised by the Waltzes 

Op. 39, originally composed for piano duet, as 

arranged by Chris Coletti and Brandon Ridenour, 

CB’s two trumpeters. This is some of 

Brahms’ lighter music, and CB plays them with 

a wonderful sense of style, fine trumpet playing 

and a great feeling for rhythm and phrasing. 

The other major work is the Op. 122 Chorale 

Preludes arranged by Ralph Sauer. This is 

heavy duty late Brahms and even in its original 

version for organ it hardly makes for easy 

listening. In the brass arrangement, the trumpet 

writing sounds awkward and the problem 

of sustaining tone in slow-moving music—a 

non-existent issue on the organ—becomes a 

major liability. 

PAUL E. ROBINSON 

Bruckner: Symphony No. 4 “Romantic” 

Orchestre Métropolitain/Yannick Nézet-Séguin 

ATMA Classique ACD2 2667 (69 min 47 s) 

★★★★✩✩ 

Nézet-Séguin is slowly 

working his way through 

recording all nine Bruckner 

symphonies and this 

is the latest installment. 

Once again one is astonished 

by the quality of 

playing and conducting. 

The Orchestre Métropolitain sounds just as 

good as most of the famous orchestras which 

have recorded the work. Most of the credit must 

go to the players, but Nézet-Séguin sets the 

standard and imposes a vision that is both exacting 

and emotional. 

The conductor uses the 1936 Haas edition, 

which is essentially the standard version. 

Nézet-Séguin adds nothing in the way of interpretative 

surprises. This is a mature reading 

that pays careful regard to tempo, 

dynamics and balance, while building the 

massive climaxes with care and nobility. Having 

recently heard Nagano and the OSM 

perform this work in the new Maison symphonique, 

comparisons come easily to mind. 

Both orchestras play very well indeed and 

Nagano is an even more experienced Brucknerian 

than Nézet-Séguin. Yet I would give the 

edge to Nézet-Séguin for the greater joy and 

exuberance of his interpretation. The finesounding 

ATMA recording was made in the 

Saint-Ferdinand Church. PAUL E. ROBINSON 

Bruckner: Symphony No. 7 

Bayerisches Staatsorchester/Kent Nagano 

Sony 88697909452 (64 min 17 s) 

★★★✩✩✩ 

Kent Nagano recently conducted the OSM in 

Bruckner’s Symphony No. 4 at their new hall in

Montreal. That performance 

and this one reflect 

a consistent view of how 

Bruckner should be 

played and conducted. 

In both cases the orchestra 

plays very well and 

balances are very carefully 

calibrated. But in each case, while there 

is much to admire and enjoy, it strikes me as 

almost beside the point. Where is the power of 

those great Brucknerian climaxes? Where is 

the inner life of the music? 

Nagano seems almost apologetic about the 

dynamic extremes in the music. For him, it is 

more important that we be able to hear all the 

instruments, all the time, even when some are 

clearly more important in what they have to 

say than others. Nagano is particularly careful 

with the trumpets. They are rarely heard in 

his Bruckner performances even when they 

are playing the melody or animating the 

rhythm in the big climaxes. 

The sound on this recording is excellent, 

and the live performance was made in the 

Cathedral in Ghent, Belgium, September 23, 

2010. But there are other conductors who get 

more out of the music. PAUL E. ROBINSON 

Colinda – Noëls de Provence 

Strada 

Analekta, AN 2 9840 (40 min 49 s) 

★★★★★✩ 

This CD hot off the grill 

from Analekta is just in 

time for Christmas. 

Strada continues to take 

us through the greatest 

musical traditions across 

Europe in its most recent 

disc featuring Christmas 

carols of Provence that are based on the Noëls 

de Notre-Dame des Doms, a manuscript from 

the 17 th century preserved in the Avignon 

Cathedral. With period instruments and accompanied 

by virtuoso Miquèu Montanaro, the 

Strada singers and the sound of their polyphonic 

music transport the listeners to ancient 

times of winter solstice celebrations. Far from 

popular modern Christmas discs, this recording 

of clear voices and of joyful music is great 

to accompany festive preparations and parties 

during the winter season. FRANCINE BÉLANGER 

Convivencia 

La Mandragore 

Fidelio Musique FACD031 (55 min 2 s) 

★★★★✩✩ 

Convivencia can be 

translated to conviviality 

or cohabitation. Specializing 

in medieval music, 

Montreal’s La Mandragora 

attempts to relive 

those early days of 

Spain where different 

cultures met and lived together in peace. In the 

Andalusia region, Jews, Muslims, and - 

Christians cohabitated between 929 and 1031. 

It is known as the Caliphate of Córdoba. The 

music presented here is a tribute to this heyday. 

Many pieces are adaptations of Sephardic, 

Arabic and even French texts, mostly from the 

12 th and 13 th centuries. Some tracks on the 

disc are new compositions by musicians of the 

ensemble, inspired by period—all are excellent. 

The anachronistic use of various instruments 

that did not exist during this period is 

surprising! So much for musical exegesis; however, 

the overall result is quite pleasant. It’s an 

exotic feast for the ears and heart. Voices, instruments 

and even the drums are very 

well rendered by a high quality sound recording. 

What a joy to hear these sounds that take 

us away! To the past, to a dream world, 

to a mythical Andalusia... 

RENÉ FRANÇOIS AUCLAIR 

Franck, Debussy, Poulenc: Sonates 

Anne Gastinel, cello, Claire Désert, piano 

Naïve V 5259 (61 min) 

★★★★★★ 

Anne Gastinel celebrates 

her twenty years of 

recording with a magnificent 

CD dedicated to 

French chamber music, 

with her favourite accompanist, 

Claire Désert. 

They first perform the 

transposition for cello—“approved by the author”—of 

the Sonata for violin and piano by 

César Franck (Belgian by birth) as if in a dream, 

taking the necessary breath to allow the sound 

of Testore de Gastinel to blossom. In the end, 

they manage to make you forget the original, 

no small feat indeed! They also succeed in finding 

the delicate balance between retained lyricism 

and sharp humour in Debussy’s Sonata 

(which the composer wanted to call “Pierrot 

vexed by the moon”), a concise masterpiece 

which seems too brief, in particular the central 

movement, Serenade. The Sonata by Poulenc is 

generally not held in great esteem. Both interpreters 

still manage to give the impression they 

take great pleasure playing it. The listener can’t 

help but be won over by the elegance in executing 

the composer’s pirouettes. Great sound 

recorded in stereo. ALEXANDRE LAZARIDÈS 

From Here on Out: Muhly, Greenwood, Perry 

Kitchener-Waterloo Symphony/Edwin Outwater 

Analekta AN 29992 (68 min 34 s) 

★★★★✩✩ 

Three young composers 

are represented on this 

disc by the Kitchener- 

Waterloo Symphony 

Orchestra, two of which 

are issued by the universe 

of “alternative” 

rock—Jonny Greenwood 

(Radiohead) and Richard Reed Parry (Arcade 

Fire). Curiously, the most consonant and 

“accessible” work is written by the only composer 

with “classical” training, Nico Muhly, 

REVIEWS 

CDs 

based in New York. His piece From here on out 

stems from a type of post-impressionist American 

modernism that is very enjoyable. The textures 

are always kaleidoscopic, featuring 

luminous counterpoint of the various orchestral 

instruments in a defined manner. Oboe, 

flute, violin, keyboard percussion, everything 

melds together evocatively. There are very few 

sound blocs and there are never sections used 

as a mass. Everything is gossamer and scintillating. 

At times, this music recalls that of Russian 

Valentin Silvestrov’s. It’s very pretty. At the 

other end of the spectrum, Jonny Greenwood 

offers a heartfelt homage to Penderecki—of the 

1960s and 70s—with piercing quarter tones 

and uncompromising dissonances in Popcorn 

Superhet Receiver. Then, Richard Reed Parry 

continues with an intriguing work where musicians, 

connected to stethoscopes, follow their 

bodies’ rhythms. For Heart, Breath and Orchestra, 

despite the random character, is enjoyable 

and even fun. FRÉDÉRIC CARDIN 

Great Piano Trios: Mozart, Beethoven, 

Schubert, Mendelssohn, Shostakovitch 

Gryphon Trio 

Analekta AN 2 9510-8 (9CD) 

★★★★★✩ 

Canada’s Gryphon Trio has recorded a wide 

range of chamber music for Analekta. The 

recordings represent the evolution of the piano 

trio from the classical period to pre-romanticism. 

Why then did they abandon the Haydn trios 

31 st Season 

piano 

Dorothy Fieldman Fraiberg 

clarinet 

Simon Aldrich 

violin 

Alexander Lozowski 

viola 

Pierre Tourville 

cello 

Sheila Hannigan 

Works by Rabl, Mozart and Piazzolla 

Thursday, February 9, 8 pm 

Redpath Hall, McGill University 

Admission free 

www.allegrachambermusic.com 


REVIEWS 

CDs 

they had already 

recorded? We would 

have liked them included 

in this box set as much as 

those of Shostakovitch, 

who, despite his captivating 

music, disturbs the 

unity. This choice is difficult 

to explain… But it doesn’t detract from the 

performers. The box set is a tribute to the 

group’s excellence. From Mozart, to the almost 

complete Beethoven (notably well played), to 

Schubert and Mendelssohn, the musical quality 

is always present. Jamie Parker’s piano playing 

is superb and always inspired. The violin and 

cello play without too much vibrato and discretely 

support the pianist, never showing excessive 

aggressiveness. Thus, the ensemble’s 

sound is pleasant and warm. The soloists have 

neither the harshness nor the feverish passion 

of Trio Borodin (Chandos). But failing to be contrasted 

to the extreme as are other ensembles, 

the Gryphon Trio makes us experience exquisite 

moments, perfectly fulfilling the heart and mind. 


Handel: Streams of Pleasure 

Karina Gauvin, soprano; Marie-Nicole Lemieux, 

contralto; Il Complesso barocco/Alan Curtis 

Naïve V5261 

★★★★★✩ 

This new Handel 

recording with Karina 

Gauvin and Marie-Nicole 

Lemieux, recorded earlier 

this year in Italy, is 

titled “Streams of Pleasure”—how 

aptly named! 

In the vocal cords of 

these two first ladies of Canadian classical 

music, the pleasure is entirely the listener’s. 

The disc contains a generous selection of fifteen 

arias and duets from nine Handel oratorios, 

all composed between 1744 and 1750, the 

composer’s last creative phase. Some are well 

known (Judas Maccabaeus, Hercules, 

Theodora), the last two occasionally staged as 

operas; others (Susanna, Joseph and his 

Brethren) are relatively unfamiliar. Gauvin 

has an exquisitely smooth, soft-grained sound; 

Lemieux’s contralto is opulent, resonant and 

powerful. Their voices blend perfectly in the 

several duets—it’s hard to imagine “To thee, 

thou glorious son of worth” and “Streams of 

Pleasure ever flowing,” both from Theodora, 

better sung. Their English diction is exemplary—if 

only all singers enunciated so clearly! 

Alan Curtis has worked extensively with the 

two Canadians, and his incisive and idiomatic 

conducting is terrific. It’s nicely packaged with 

an informative essay, singer bios, texts in English 

and French, and best of all, four candid 

black and white photos of the two women 

taken at the recording sessions. The sonic 

quality is first rate. To my ears, this disc is a 

serious contender for disc of the year in the 

vocal/oratorio category. JOSEPH K. SO 

Human Misery-Human Love: Beethoven: 

Symphony No. 9 in D minor Op. 125 “Choral” 

Erin Wall, soprano; Mihoko Fujimura, mezzo-soprano; 

Simon O’Neill, tenor; Mikhail Petrenko, bass; OSM 

Chorus and Tafelmusik Chamber Choir/Ivars Taurins, 

Guest Choir Conductor; Orchestre symphonique de 

Montréal/Kent Nagano 

Analekta AN2 9885 

★★★★✩✩ 

This past September the 

OSM celebrated the 

opening of its new 

hall—La Maison symphonique—with 

performances 

of Beethoven’s 

Ninth. Ana lekta took the 

opportunity to make a 

recording as part of its ongoing project to record 

all the Beethoven symphonies with the OSM and 

Nagano. But Analekta is not content to let the 

music speak for itself. Each of its Beethoven releases 

has a title and a philosophical idea. In the 

case of the Ninth, the title is “Human Misery- 

Human Love”, but it is anybody’s guess what that 

means. Nagano’s explanation in the booklet is 

more obscure than the title. Yann Martel’s words 

are even more baffling. 

But few conductors achieve the level of clarity 

that is routine in every Nagano performance, 

and his performance of the Ninth is 

remarkable in this respect. Every detail has 

been polished and balanced and the OSM 

plays superbly. Nagano is guided by period 

performance practice in matters of tempo, 

phrasing, vibrato and balance, and that means 

his performance of the Ninth is “modern” as 

compared to fuddy-duddies like Toscanini, 

Walter, Klemperer or Karajan. Unfortunately, 

it also means that we have a Ninth without 

real Beethovenian fire. Nagano’s Ninth seems 

more like a blueprint than a performance. 

The soloists seem to inhabit another performance 

altogether. Their sounds and phrasing 

are far more traditional than what Nagano 

obviously has in mind. The chorus, however, is 

on a very tight period performance leash and 

seems underpowered. 

A triumph for the OSM and Nagano if you 

happen to like his approach. If not, try Blomstedt 

among recent recordings (Profil 

Hänssler CD PH11009). PAUL E. ROBINSON 

Jeffrey Ryan: Fugitive Colours 

Gryphon Trio; Vancouver Symphony Orchestra/ 

Bramwell Tovey 

Naxos 8.572765 (69 min 13 s) 

★★★★✩✩ 

With this release, Naxos 

inaugurates its new 

Canadian Classics series, 

Canada’s answer to 

the popular and varied 

American Classics. The 

arrival of this series is 

very promising for the 

diffusion of Canadian music, especially considering 

the immense scope of Naxos’ distribution 

as well as its online music bank. So far, 

only one release is available, but we hope that 

this collection will follow in the footsteps of its 

southern sibling, promoting both contemporary 

music and older Canadian works. For 

now, we can appreciate the accessible musical 

language and iridescent instrumental colour 

of three pieces by Vancouver composer Jeffrey 

Ryan. The symphonic poem The Linearity of 

Light and the symphony Fugitive Colours are 

both interesting and captivating works. The 

triple concerto Equilateral is one of Ryan’s 

strangest pieces, simultaneously evoking 

Vivier and Shostakovitch! Nevertheless, there 

is a compelling dynamic between the three 

soloists and the orchestra. The performers are 

excellent and bring rigour and passion to these 

works which were created in close collaboration 

with the composer. ÉRIC CHAMPAGNE 

Johann Christian Bach: Missa da Requiem 

Lenneke Ruiten, soprano; Ruth Sandhoff, alto; Colin 

Balzer, tenor; Thomas E. Bauer, bass; RIAS Kammerchor; 

Akademie für Alte Musik Berlin/Hans-Christoph 

Rademann 

Harmonia Mundi HMC 902098 (74 min 55 s) 

★★★★★✩ 

What a great discovery! 

This piece must be one of 

the most beautiful works 

by the youngest Bach. 

Although relatively conventional 

in its musical 

structure, this luminous 

and superbly balanced 

Requiem is remarkable for its lyrical Italianate 

expressivity. Bach composed this Missa da 

Requiem in Milan, and had little regard for the 

traditional form, composing only the Introitus, 

Kyrie and Sequenz (in twelve sections). The 

soloists benefit from a frothy and exciting score 

offering many opportunities to shine, which they 

do not fail to do! As well, this recording features 

a Miserere in B-flat major by Hans-Christoph 

Rademann, also composed in Milan. This work 

foreshadows the compositional style of Johann 

Christian Bach with its emerging symphonic style, 

clarity of expression and powerfully suggested affects. 

The performance of the Rademann is supple, 

convincing and radiant. Magnificent, from all 

points of view. 

FRÉDÉRIC CARDIN 

Mozart: Dissonances 

Quatuor Ebène 

Virgin Classics 5 0999 070922 2 0 (71 min 5 s) 

★★★★✩✩ 

Ebène’s interest in musical 

crossover has without 

a doubt solidified their 

public reputation. The 

young French quartet affirms 

that in the Mozartian 

style, the dissonance is 

a “sign of maturity”, and 

they wish to illustrate this principle with their 

recording of two of the quartets dedicated to 

Haydn, one in D minor and one in C major (the 

“Dissonance”), along with the Divertimento KV 

138. The execution is calculated and precise, and 

44 


REVIEWS 

CDs 

the dynamic markings are scrupulously rendered, 

though in tempi generally slower than usual. But 

it is a well-known fact that attention to detail, 

laudable though it may be, does not ensure a 

good rendering of a piece’s spirit. This is perhaps 

the case here: the emphasis on detail bars spontaneity, 

and the choice to emphasize effects in the 

work of a composer beloved for the contrary 

qualities is curious, at least. The quartet in D 

minor, a heart-rending cry, suffers more from 

this tendency than the “Dissonance.” Close miking 

produces at times an almost orchestral sound 

quality, with a huge cello. Let us return to the old 

Italians: let fluid, natural, moving song be again 

the order of the day! ALEXANDRE LAZARIDÈS 

Musica Vaticana: Musique Polychorale 

Studio de musique ancienne de Montréal/ 

Christopher Jackson 

ATMA ACD2 2508 (57 min 5 s) 

★★★★★✩ 

The works presented 

were almost all composed 

by Italian composers 

who were at one 

time directors of the 

Cappella Giulia in Rome 

between 1600 and 1743. 

The other well-known 

chapel in the eternal city was, of course, the 

Sistina. We are not in Rome for this recording, 

but happy in the church of Saint-Augustin in 

Mirabel, whose warm, hushed acoustics have 

been well captured. In this room, the rich 

voices and gentle expression of the ensemble 

lift the listener to heights of admiration and 

contemplation. The vocal parts call, respond, 

and circle each other in perpetual balance. 

SMAM’s sixteen voices are distinct enough that 

we can easily “visualize” each part and appreciate 

the counterpoint. The soloists are 

grouped in three or four distinct choirs, accompanied 

sometimes by a basso continuo 

(cello, harp, and organ). Two Benevoli motets 

for three and four soprano soloists are a fine 

contrast. They are brilliantly executed with joyful 

ornaments and immense virtuosity. Of especial 

note is the fugue which closes Pitoni’s 

Dixit Dominus for sixteen voices in four choirs: 

bravissimi! 


Schnittke: Quartets 1-4 

Molinari Quartet 

ATMA ACD22634 (2 CD; 103 min 20 s) 

★★★★★✩ 

While the Molinari 

Quartet might not reach 

the dramatic heights of 

the Kronos Quartet nor 

attain the surgical precision 

of the Arditti String 

Quartet, they are more 

than competitive when 

it comes to timbre (and the competition is stiff 

indeed!). The varied instrumental colours are 

so perfectly fused that listening to the quartet 

is like listening to one soloist. This imaginary 

soloist isn’t immune to the occasional mistake 

or affectation, but we barely even hear such 

passing errors. The listener doesn’t linger on 

imperfections, but rather hangs on the shimmering 

tremolos of the first quartet, the melancholy 

of the second, the enveloping unisons of 

the third. If this imposing repertoire interests 

you, dive in post-haste. RENÉ BRICAULT 

Schumann: Piano Sonata No. 2 in G minor 

Op. 22/Fantasie in C major Op. 17 

Anton Kuerti, piano 

DOREMI DDR-6608 

★★★★★✩ 

Over the years, Kuerti 

has recorded much of 

Robert Schumann’s 

piano music, including 

the chamber music and 

the Piano Concerto (CBC 

SMCD-5218). In all of 

these recordings, Kuerti 

has shown great empathy with the bipolar 

emotions expressed in the music. That is the 

case again here too but coupled with a remarkable 

command of subtleties of dynamics 

and tone that are so much a part of Schumann’s 

contribution to piano literature. 

The performances are enhanced immeasurably 

by a clear, rich piano sound. No doubt 

Kuerti’s own attention to the voicing of his instrument 

has something to do with it, but producers 

Jacob Harnoy and Clive Allen must be 

entitled to some of the credit. We can fairly assume 

that the acoustics of Willowdale United 

Church in Toronto made a contribution too. 

An interesting feature of this recording is the 

inclusion of the original Finale of Op. 22. 

Kuerti has chosen to add it as what he calls “a 

second scherzo.” I agree with him that the ending 

is too abrupt for the movement to be satisfying 

as a finale. The second finale has much 

greater cumulative power. PAUL E. ROBINSON 

Honens Laureate Series 

1) Bach: Goldberg Variations BWV 988 

Minsoo Sohn, piano 

2) Debussy/Holliger/Honegger/Ravel 

Gilles Vonsattel, piano 

3) Hindemith/Schoenberg/Stravinsky/Szymanowski 

Evgeny Starodubtsev, piano 

4) Schubert: Sonata in A major D.664/Drei 

Klavierstücke D.946/Fantasy in C major D.760/ 

Allegretto in C minor D.915 

Georgy Tchaidze, piano 

★★★★★✩ 

Given the space constraints and the vastly different 

repertoires, one is loathe to compare— 

let alone rank the discs, but suffice it to say 

each pianist brings his uniquely personal gift 

to the performance. Top on this reviewer’s 

personal list is Minsoo Sohn’s Goldberg Variations. 

After a stunning debut disc of Liszt 

transcriptions, Sohn goes from strength to 

strength with a recording that stands up to 

comparisons with the best—yes, even Glenn 

Gould’s “good standard” 1955 and 1981 

recordings. Striking is Sohn’s felicitous mix of 

singing tone, innate nobility of phrasing, and 

above all his poetic 

imagination. Having 

played this monumental 

work in live performances, 

it’s good that he 

has now committed it to 

disc. Another standout 

is the all-French program 

of Gilles Vonsattel 

who shows an uncommon 

affinity for Debussy 

and Ravel, played here 

with unfailingly ravishing 

tone, a wide spectrum 

of colours, and an 

altogether magical touch. 

The recorded sound is 

properly atmospheric if 

a touch too distant. As 

he explains in the liner 

notes, 2009 First Laureate 

Georgy Tchaidze is 

particularly drawn to 

Schubert and it shows. 

He does full justice to 

the joyous and elegant 

opening movement of 

the A major Sonata, his 

brisk tempo making the 

very familiar work 

sound fresh. To my ears, 

Tchaidze’s playing is most convincing in the 

more lyrical and introspective pieces, while 

the more dramatic and darker moments in 

pieces like the Fantasy in C major tend to be a 

touch overwrought. Starodubtsev’s “modern” 

program is perhaps the least familiar, but he 

plays it with great conviction and lyricism, 

brilliantly underscoring the kinship of Szymanowski 

and Hindemith with Debussy. It’s 

to his credit that even the Schoenberg sounds 

totally accessible to indifferent ears. The production 

values are exemplary—great sound, 

informative liner notes (particularly Eric 

Friesen’s Q&A with each pianist), and beautiful 

packaging—if only there were a photo or 

two of the recording sessions. These four pianists 

have already gained their rightful places 

among the most promising artists of today, 

and these releases are a testament to their ever 

developing artistry. 

JOSEPH K. SO 

TRANSLATION: MIRIAM CLOUTIER, 

NATALIE GAUTHIER, RONA NADLER, 

KARINE POZNANSKI 


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: 

Hector Berlioz’s 

Symphonie fantastique, Op. 40 

Eighteen-thirty saw a great upheaval with 

France’s July Revolution. That same year, 

French composer Hector Berlioz (1803- 

1869) won the Prix de Rome, a prestigious 

prize that financed an artist’s studies for 

five years. He also completed his Symphonie 

fantastique. Inspired by literary 

works of Thomas de Quincey (Confessions 

of an Opium Eater) and Victor Hugo (Le 

Dernier Jour d’un Condamné), this programmatic 

work uses many compositional 

devices to tell Berlioz’s own story of hopeless 

love through music. His use of an idée 

fixe, a technique used to transform themes 

to tell a story, express a mood or idea, effectively 

unites the five-movement work. 

Here, the idée fixe represents the lover of a 

composer. In a drug-induced state, the 

composer dreams that he has killed the object 

of his affection to then be decapitated 

at the end of the fourth movement. Drama 

ensues and dreams turn to nightmares in 

the fifth movement, the Dream of a Witches’ 

Sabbath. Deep church bells and the Gregorian 

chant Dies irae (Day of Wrath) add to 

an increasing sense of dread. A masterful 

orchestrator, Berlioz’s command of instrumental 

colours and textures paints scenes 

of joy, wistfulness, solitude, and frenzy. His 

Symphonie fantastique is a feast for the 

ears and imagination. LAURA BATES 

Alexandre Lazaridès’ 

ESSENTIAL SYMPHONIE 

FANTASTIQUE 

Berlioz: Symphonie fantastique op. 14 

New York Philharmonic/Leonard Bernstein 

Sony SMK 60968 (69 min 13 s) 

The “Fantastique” has been 

recorded often, and by big 

names at that. Leonard 

Bernstein’s recording of 

May 27, 1963 does not 

demonstrate a talent for 

colours like the European 

conductors who were part of a certain tradition; 

however, it has movement, passion, 

life, and a March to the Scaffold that will make 

you shiver. He ignites his orchestra, his direction 

then at its peak, and convinces us every 

time. Furthermore, the sound recording is a 

remarkable. 

FRÉDÉRIC CARDIN RECOMMENDS... 

Ernest Chausson 

(1855-1899) 

Symphony No. 1 

Composed between 1889-1890 

Similarities: a French symphony 

French, of course, but with an expansive 

romantic character that is fiery at 

times. A rich and sumptuous orchestration 

coloured with lyricism. A child of Berlioz no 

doubt. 

Differences: the symphony is written in only 

three movements and does not use the scheme 

of the idée fixe, so fundamental in the Fantastique. 

The chromatic harmony also approaches 

the German symphonic style. 

ESSENTIAL LISTENING: 

French Symphonies 

Orchestre philharmonique de 

Radio France/Marek Janowski 

Virgin Classics 61513 

(2CD, 1998) 

ÉRIC CHAMPAGNE RECOMMENDS… 

Sergei Rachmaninoff 

(1873-1943) 

Symphonic Dances, Op. 45 

Composed in 1943 

Similarities: Berlioz quotes the 

Dies irae theme in the Dream 

of a Witches’ Sabbath, the infernal bacchanal 

that ends his Symphonie fantastique. 

Rachmaninoff quotes the Dies irae theme in 

several works including his Symphonic 

Dances, where it appears in a finale that is 

close to the frenzied romanticism of Berlioz. 

Differences: While Berlioz’s Dies irae assumes 

gloomy and whimsical colours, the 

Rachmaninoff recalls the eternal struggle of 

Eros and Thanatos. The allusion that death 

lurks in a dance movement full of life confronts 

the desire for life and death in a paradoxical 

delight: tragic and exhilarating, deeply 

romantic. 


Rachmaninoff: 

The Symphonies 

Concertgebouw Orchestra/ 

Vladimir Ashkenazy 

Decca 455 798-2 (1998) 

PAUL E. ROBINSON RECOMMENDS… 

Hector Berlioz 

(1913-1976) 

La Mort de Cléopâtre 

Composed in 1829 

Similarities: Berlioz (literally) 

wrote the book on orchestration and the 

Symphonie fantastique is full of instrumental 

novelties (e.g. two sets of timpani, e-flat clarinet, 

orchestral bells, col legno effects, etc.). 

La mort de Cléopâtre is equally startling for 

the period. 

Differences: As Cleopatra is fatally bitten by the 

snake Berlioz has the two flutists switch to piccolos 

for the only time in the symphony—to 

play four notes fortissimo! Equally original is 

the depiction of death in the final pages. The 

double basses (no doubling with cellos!) play 

the same 2-note figure no fewer than 128 

times in succession. The effect is truly hypnotic 

and otherworldly. 


Berlioz: La Mort de 

Cléopâtre/Symphonie 

fantastique 

Susan Graham, mezzo-soprano; 

Berlin Philharmonic/Simon Rattle 

EMI Classics 5 099921 622403 

(2008) 

Hear Berlioz’s Symphonie fantastique LIVE in concert: 

• Royal Philharmonic Orchestra & the National Arts 

Centre Orchestra/Zukerman in Ottawa; January, 17 

2012. www.nac-cna.ca 

• Orchestre symphonique de Montréal/Nagano; in 

Montreal: March 27, 29 & 31, 2012. In Quebec City: 

March 28, 2012. www.osm.ca 

TRANSLATION: LAURA BATES 

46 


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CONTEST 

CIOC 

Pipe dream turned reality 

Christian Lane, 2011 CIOC Winner 


christian Lane didn’t think he’d be back. It 

was just around the time that he left 

Montreal after placing as a semi-finalist at 

the inaugural Canadian International 

Organ Competition (CIOC) in 2008 that the 

competition-fatigue kicked in. “I was mentally done with 

competitions,” he explains. 

Not surprising, as Lane had been playing the competition 

circuit with the degree of seriousness more commonly seen 

in his fellow keyboardists, the piano players, from a very 

early age. He first tried his hand at the organ at age five. He 

was learning seriously by grade two (he had easy access to organs 

while growing up, as his father was a United Methodist 

pastor in Hampstead, and then Walkersville, Maryland). Before 

turning 21, he had won four major competitions: the Albert 

Schweitzer OC/USA, the American Guild of Organists 

Region III Competition for Young Organists, the Augustana 

Arts/Reuter National 

Undergraduate 

OC, and 

the Arthur Poister 

National OC. 

He then went on 

to place second at 

the prestigious 

AGO National 

Young Artist 

Competition and 

Miami IOC. 

Lane, now 30, 

is Harvard University’s 

associate 

university organist 

and choirmaster; 

he’s been with 

Harvard since fall 

2008, where he 

not only plays but 

also teaches the 

repertoire of the great masters: from Frescobaldi to Messiaen. He’s 

also taken a keen interest in commissioning new music, especially 

alongside frequent collaborator, soprano Jolle Greenleaf. “I think that 

a good organist has to be well versed in all styles of rep,” says Lane. 

“Trends come and go. If you were to look at the 60s and 70s, there was 

a huge movement away from anything that is Romantic. It was all 

about performance practice, and [early music] was the only good true 

music. I think that that’s absurd; as organists we need to embrace our 

repertoire. And we are blessed with the common[ly-played] modern 

instrument with the widest repertoire; there are people writing really 

inventive music for the organ today but people also wrote for it back 

in the 15 th century!” 

Why did he jump back on the competition wagon for the CIOC? “It’s 

such a high class affair,” explains Lane. “They really know what they’re 

doing.” The Notre-Dame Basilica’s Casavant organ is “huge and fun to 

play.” And he was eager to meet fellow organists—some of the top in 

the world. All this seems more exciting to him than his winning first 

prize, although he acknowledges 

it “opens a tremendous 

number of doors.” 

“Since I’ve gotten back 

everybody has been asking me 

if I’m on cloud nine,” he continues. 

“And I’m not. Because 

for me, this is what I do—I 

play the organ. I set a goal: to 

go to Montreal and play as 

well as I could. But for me 

winning this goal isn’t this 

life-changing event. It’s always 

luck to a degree. I was 

shocked. I never feel like I 

play well enough.” 

He shrugs off the suggestion 

that, in fact, his winning 

so many competitions points 

to his playing very well, saying: 

“My strength is not playing 

all the right notes and 

having the most perfect technique. 

It’s definitely not.” He 

“Everybody is asking me 

since I’ve gotten back if 

I’m on cloud nine. And 

I’m not. Because for me, 

this is what I do—I play 

the organ.” 

pauses, then concedes: “But I think that I have 

something to say. And I know how to tame this instrument 

that is so untamable—even for really fine 

technical players.” The trick involves solving how to 

convey rhythm with an instrument that does not convey dynamics 

between notes. “So much of playing the organ comes down to finding 

a way to communicate through really vibrant rhythm,” he claims. “We 

usually perceive rhythm based on strong beats being louder, but you 

can’t do that on the organ. The organist must come up with ways to 

make the listener perceive loudness.” Techniques include holding 

notes on strong beats a little longer. “I think conveying that rhythm 

and therefore being able to communicate is probably my biggest 

strength,” he adds. 

Ultimately, communicating to others through the organ is also intensely 

personal. As he says: “For me, music in general and organ being 

one vehicle for that is how I both center myself and also have some 

spiritual grounding.” LSM 

Solo Organ Recital on May 18, 2012, at the Organix Festival in Toronto at the 

Metropolitan United Church www.organixconcerts.ca 

www.christianlane.com 

48 


PORTRAIT 

Raymond Cloutier 

One passion, Many Domains 

by ROXANA PASCA 

atheatre and cinema giant, 

Raymond Cloutier has worn 

many hats over the course of 

his career: actor, director, 

writer, teacher, and radio 

personality. Since 2007, he has been the head 

of the Con servatoire d’art dramatique de 

Montréal. It’s a role tailor-made for this 

enthusiast. 

Fiction and Reality 

Born into a family of hoteliers, Raymond 

Cloutier attended boarding school from a young 

age. It was there that he discovered theatre. 

“From the age of five or six, I was on stage 

all the time,” he recalls. At first, theatre was 

merely a way to relieve boredom at school, but 

it soon became a refuge. “Thanks to theatre, 

my life at boarding school became more comfortable,” 

he says. “It made life a little more 

meaningful.” 

His youth was spent, as he puts it, “not in the 

reality of a family, but in the reality of fiction and 

theatre.” When he was offered a place at the Conservatoire 

d’art dramatique de Montréal, Cloutier 

thought he had found his happy ending. 

“I didn’t know what else to do,” he says. “I was 

stuck in this fictional universe.” At the Conservatoire 

with teachers such as François Cartier 

and Georges Groux, he learned the art of performance 

and how to push the limits of his gift 

as an actor. “Everything was interesting to me,” 

he says of his four years at the Conservatoire, 

one of which was spent in Quebec City with Jean 

Valcourt and Marc Doré studying creative theatre, 

improv, and experimental theatre. 

Cloutier graduated from the Conservatoire 

in 1968 with great distinction and a wealth of 

knowledge. The wait for success was short. Noticed 

at an improv night, he was offered a series 

of unexpected contracts: a role in Le Drap, a 

play staged in Strasbourg, and another in Les 

quinze rouleaux d’argent presented in La 

Chaux-de-Fonds, Switzerland. “I had one contract 

from October to late November in Strasbourg, 

and another one from January to May 

in La Chaux-de-Fonds in addition to a tour in 

Switzerland, eastern France, and a few performances 

in Paris. It was a dream year.” 

Anything but Ordinary 

In addition to being an enriching experience, 

Raymond Cloutier’s year in Europe introduced 

him to the secret life of a theatre troupe. This 

“communal and bohemian” lifestyle was based 

on a cooperative and egalitarian model in 

which everyone—the director, the technicians, 

PHOTO Alain Tremblay 

and all the actors in between—earned the same 

salary. The experience sparked the Grande 

Cirque Ordinaire, an extraordinary adventure 

for the emerging actor. With collectively created 

shows, the troupe wanted to make theatre 

that was “absolutely not alienating,” he says. 

Supported by Albert Millaire and the 

Théâtre Populaire du Québec, the Grande 

Cirque Ordinaire staged nine productions between 

1969 and 1978, including T’es pas tannée, 

Jeanne d’Arc ? (1969), La famille 

transparente (1970) and T’en rappelles-tu Pibrac 

? (1971). The latter tells the true story of 

a small village near Jonquière that was to be 

flooded. However, in the shadow of the recent 

October Crisis, it was judged too outrageous 

and political. Raymond Cloutier and his 

friends were therefore dismissed from the 

Grand Cirque Ordinaire. The setback didn’t 

discourage the young actor, so full of ideas and 

ambition; a few years later he would produce 

two solo shows, Mandrake chez lui in 1976 

and Le Rendez-vous d’août in 1977. 

From the Stage to the Screen 

Alongside his fledgling theatre career, Cloutier 

also pursued a career in cinema. He started big 

with a role in Gilles Carle’s Red (1970), followed 

by another in La tête de Normande Saint-Onge 

(1975). Working with Carle was not at all easy 

for the actor, as the director’s methods were not 

always compatible with his own. Gilles Carle, influenced 

by the documentary school of the NFB, 

was an adept at cinema vérité. “He thought that 

by putting me in real situations, I would become 

a better actor.” As a result, Cloutier often found 

himself in unexpected situations, such as the 

time Carle had him attacked by fifteen men during 

shooting in order to capture the most authentic 

fear possible. “For an actor who had been 

on stage since the age of five, who did four years 

at the Conservatoire followed by a European 

tour, it was an absolute insult.” 

Following this somewhat disconcerting collaboration 

with Gilles Carle, Cloutier continued 

his cinema career with, among others, 

Jean-Claude Labrecque’s les Vautours (1975) 

and l’Affaire Coffin (1980), Lionel Chetwynd’s 

Two Solitudes (1978), Jean Beaudin’s 

Cordélia (1980), Brigitte Sauriol’s Rien qu’un 

jeu (1983), Jean-Marc Vallée’s Liste Noire 

(1995) and more recently, Simon Lavoie’s Le 

déserteur (2008), Michel Monty’s Une vie qui 

commence (2010) and Sylvain Archambault’s 

French Kiss (2011). It’s also worth noting that 

he has also portrayed a number of prestigious 

figures on television, including Louis Riel in 

the Georges Bloomfield series Riel (1979) and 

Jean Drapeau in Alain Chartrand’s series 

Montréal ville ouverte (1992). 

A Passion for Writing 

“I always told myself that I should write a couple 

of novels in my lifetime,” Raymond 

Cloutier confesses. The dream became a reality 

in 1998 with the publication of Un retour 

simple, an improvised novel written in the 

same manner as the shows of the Grand 

Cirque Ordinaire. One year later, it was followed 

by Le beau milieu, an essay on the 

structure of the diffusion of Montreal theatre. 

In 2000, he published his second novel, Le 

Maître d’hôtel. “It’s the divine side of writing 

that interests me, that pure and unlimited 

freedom,” he says. 

This passion for writing and literature led 

him to host literary shows on Radio-Canada’s 

Première chaîne from 2004 to 2008. During 

this period, he had to read five novels per 

week. From this experience, he concluded that 

“too many people write too many novels.” 

“It was a bit inhibiting,” he says. “I thought, 

if I want to write, I’d better write something 

really good, or else it won’t be worth the trouble.” 

Nevertheless, his desire to write remains 

and he has not ruled out the possibility of publishing 

another novel. 

On top of his creative pursuits, Raymond 

Cloutier has a long history of teaching. He has 

taught the art of improvisation—“spontaneous 

creation”—to generations of actors. “It’s quite 

moving to see these young people who couldn’t 

get up and improvise a few months ago 

becme masters of substance, balls of invention,” 

he remarks. 

A passion for youth and the dissemination 

of knowledge persuaded Cloutier to resume 

his post as the director of the Conservatoire 

d’art dramatique de Montréal in 2007, a prestigious 

position that he had held from 1987 to 

1995. While he recognizes the talents and 

aptitudes of Conservatoire graduates, he confesses 

that he has little confidence in their 

futures. “We need a network of companies, 

especially permanent theatres, throughout 

Quebec,” he says. That way, young actors, at 

least the best among them, would have the 

chance to be on stage and live their art. “I’m 

hoping to get the Minister of Culture to help 

create stepping stones for these young actors,” 

Cloutier says. “We’ve focused so much on the 

survival of [the French language], but a language 

doesn’t survive all on its own. It survives 

thanks to literature and theatre.” 

LSM 



ARTS THIS WINTER 

ΩDance 

by TAO FEI & HANNAH RAHIMI 

Montreal’s upcoming dance season gives audiences 

plenty to savor through the winter 

months: a batch of visiting artists and companies, 

as well as a cross section of homegrown 

hotshots, with offerings ranging from big classical 

ballet productions to magnetic solos to 

gems on the edge of contemporary and avantgarde 

practices. One thing is for sure: this will 

be the time to discover virtuosic dancing in its 

many incarnations. 

Last chance to decide whether 2011 will be 

naughty or nice: Reigning enfant terrible Dave 

St-Pierre closes out Théâtre La Chapelle’s fall 

season with another provocative piece, Le 

cycle de la boucherie (Nov. 29 to Dec. 17). The 

18+ dance theater work, featuring no-holdsbarred 

performers like Vincent Morelle and 

Sylvia Camarda in explicit entanglements, 

marks the Quebec choreographer’s first collaboration 

with the Canadian-led, Dutch 

contemporary company Dance Works Rot - 

terdam/André Gingras. For wholesome, PGrated 

fare, Les Grands Ballets Canadiens de 

Montréal returns to Salle Wilfrid-Pelletier 

STRAIGHT RIGHT... 

Featuring Ève Garnier 

and Victoria May 

PHOTO danse-cite.org 

BATSHEVA 

PHOTO Gadi Dagon 

BELOW: PERSONAE, 

featuring José navas 

PHOTO Valérie Simmons 

with their perennial 

family favorite, 

Fernand 

Nault’s The Nutcracker 

(Dec. 10 to 

30). The live 

Tchaikovsky score 

and the first curtain 

reveal of the Kingdom 

of Sweets in spires the 

fuzzy feeling every 

time. 

The Danse Danse 

season resumes in 

January with two renowned choreographers 

each taking the stage. 

First is an intimate engagement with José 

Navas/Compagnie Flak, at Cinquième Salle. 

The veteran Venezuelan-born Quebec choreographer 

will perform Personae (Jan. 11 to 

28), a brand-new suite of stripped-down solos 

set to music ranging from Patti Smith to Rachmaninoff. 

TF 

Contemporary dance company Mandala 

Sitù takes the stage at Agora de la Danse in a 

presentation of Bijoux (Jan. 18 to 21). In this 

intimate, poetic creation, five male choreographers 

intersect with five female dancers to 

question ideas of femininity and identity. UKbased 

dancer and choreographer Akram Khan 

brings two award-winning works to 

the Théâtre Maisonneuve, displaying 

his unique blend of contemporary 

dance and Kathak, classical 

Indian dance. In Gnosis, he melds 

Eastern chants, live music and magical 

choreography (Jan. 24 to 25), 

followed by Vertical Road, which 

draws inspiration from Sufi tradition 

and the Persian poet Rumi, featuring 

the music of Nitin Sawhney 

(Jan. 26 to 28). If you’re craving the 

cutting edge, check out the newly 

formed collective C’est Juste Lundi 

in their very first performance, 

Pierre-Marc et ses angèles… les 

derniers bleus, in which four 

dancers explore the intersection 

between the 

absurd and the profound 

at Théâtre La 

Chapelle (Jan. 25 to 

28). 

Montréal Danse, 

which is celebrating its 

25 th anniversary, kicks 

off the month with two 

productions at Agora 

de la danse. Jean-Sé - 

bastien Lourdais push - 

es the limits of the 

body with his edgy, 

corporeal choreography 

in a premiere performance 

of Three 

Skins (Feb.1 to 3). In 

George Stamos’ Husk, 

three dancers collaborate 

with musician 

/composer Jackie Gallant in a profound navigation 

of gender and the mind/body dicho - 

tomy (Feb. 8 to 10). In the spirit of Valentines 

Day, the young Central-African choreographer 

Ghislaine Doté tackles the theme of marriage 

in Merry Age, a comic and lively Virtuo Danse 

performance at Agora de la danse (Feb. 15 to 

18). In multi-cultural Montreal, audiences 

may be particularly interested in explorations 

of migratory identity such as Danse-Cité’s 

Straight Right ou l’art d’être Nulle part 

Ailleurs (Feb. 16 to 25, Espace Go). Ève Garnier 

and Victoria May perform four stories of 

migration, displacement and memory staged 

by local and international choreographers, 

composers and photographers. 

HR 

Over at Usine C, strap on your seatbelts for 

an appearance by Lisbeth Gruwez, wild child 

of the Belgian avant-garde and muse of Jan 

Fabre. She packs in all of her feral wattage into 

Birth of Prey (Feb. 23 to 25), a rock-star solo 

work backed by an onstage drummer and guitarist. 

A North American premiere. 

The highlight of Danse Danse’s 2011-2012 

season has to be the Montreal return of Israel’s 

Batsheva Dance Company with a new 

piece by Artistic Director Ohad Naharin, entitled 

Hora (Mar. 1 to 3). Naharin’s now-classic 

50 


GNOSIS, featuring Akram 

Khan PHOTO Valérie Simmons 

contemporary dances feature in the 

repertories of top-flight companies 

around the globe, but nothing is like 

seeing his distinctive technique on his 

own troupe—all guts and glory, especially 

the women. To see another worldclass 

ensemble, this time a bastion of 

Russian classicism, the 150- year-old 

Kiev Ballet performs Igor Zelensky’s 

Swan Lake (Mar. 8 to 11) at Salle Wilfrid-Pelletier. 

Its famed school in the 

Ukraine has produced some of the 

biggest ballet stars on the planet. Prefer 

another vision (sans tutus) of women 

dancing? Belgium-based Canadian 

dancer and choreographer Lise Vachon 

will visit Tangente at Mo nument- 

National with powerhouse dan cer Lisbeth 

Gruwez to present Sliding (Mar. 8 

to 11), a brand-new duet of shifting silhouettes 

in an Edward Hopper-esque 

universe. And at the end of the month 

at Agora de la danse, don’t miss a second 

chance to see the latest piece by 

Canada’s leading contemporary choreographer 

Crystal Pite, with her Frankfurt-based 

company Kidd Pivot. First 

presented in Montreal at last summer’s 

FTA, The You Show (Mar. 21 to 24) is a 

four-part evening-length work for eight 

superhuman dancers tackling epic 

human themes. 

TF 

Agora de la danse presents Orlando, 

the newest work of choreographer Deborah 

Dunn, performed by members of 

Trial and Eros (Mar. 14 to 17). Seven 

dancers rehearse themes of androgyny 

and metamorphosis in this absorbing, 

surreal piece based on the Virginia 

Woolf novel. 

HR 

The final snowstorm in April will 

likely take place at Usine C: An appearance 

by Tokyo-based dancer, choreographer 

and multimedia artist Hiroaki 

Umeda, as part of the sixth edition of 

the Festival Temps d’Images. A major 

player of the Japanese avant-garde, 

Umeda will present the North American 

premiere of his acclaimed Holistic 

Strata (Apr. 19 to 21), a hyperkinetic, 

street style-inflected solo set against 

mind-warping projections of blustering 

black and white static. 

TF 

ΩTheatre 

ROBIN HOOD REDUX 

by JAMES GARTLER 

The winter months typically stir up feelings of 

isolation, financial frustrations, memories of 

lost loves and dreams of warmer nights. How fitting, 

then, that Montreal playhouses will bring 

these sentiments to life all across town in the 

coming months, offering a variety of productions 

aimed at exploring the struggles of the 

human heart, or simply shaking audiences out 

of their frozen funk. 

Robin Hood Redux: There Will Be Tights is 

likely to fall into the latter category. This Purple 

Doorknob Production promises to turn the legend 

of the Prince of Thieves on its ear by reversing 

the genders of the main characters. Evil 

Prince John becomes Princess Eileen, Maid 

Marian becomes Lord Marion, and even Robin 

himself becomes a herself. To find out if that 

translates into comedic gold, pay a visit to Mainline 

theatre (Nov. 30 to Dec. 3). 

Those seeking a reason to get up and dance 

will rejoice at the return of Mamma Mia! in the 

New Year. The ABBA-powered Broadway musical 

will take over Place-des-Arts for an eightperformance 

run (Jan. 3 to 8). Though most 

have likely seen the Meryl Streep film version 

by now, the show remains popular thanks to its 

ability to create a party atmosphere among the 

attendees. With classic hits like “Dancing 

Queen,” “Chiquitita” and “Winner Takes It All” 

woven into the plot, it’s easy to see why. 

MAMMA MIA! 


Fans of Calgary-born playwright/actor/director 

Morris Panych are in for a run of good 

luck. His newest work, In Absentia, will make 

its world premiere at the Centaur Theatre (Jan. 

31 to March 4). The play follows Colette, a 

woman whose spirit has been crippled since the 

kidnapping of her husband, Tom, a year prior, 

while on a business trip in Columbia. Holed up 

in their cottage, she catches sight of a young 

man who bears a strange resemblance to Tom 

and reaches out, offering him some escape from 

the cold. With young 

up-and-comer Jade 

Hassouné in the cast, 

along with Paul Hopkins 

(Segal’s The Play’s 

the Thing), this one is 

de finitely a must-see. 

Those hoping to get a 

taste of Panych’s more 

signature comedic GUY SPRUNG 

style, meanwhile, will 

be happy to hear that Vigil is being staged by the 

Segal Centre (March 11 to April 1). Audiences 

in London, Paris and across Canada have enjoyed 

this tale of a bank employee who travels 

to be with his Aunt when she claims she’s on her 

last breath. 

For a look at an industry 

in a similar situation, 

make a note of 

Ars Poetica, opening at 

Infinitheatre (Jan. 17 to 

Feb. 12). This new 

comedy by local writer 

Arthur Holden follows 

the struggles of a Montreal 

literary magazine 

attempting to stay a - 

float with the help of a 

lawyer, of all things. 

LYNN NOTTAGE 

Originally workshopped as part of Infinitheatre’s 

series of public readings The Pipeline, Ars 

is directed by Guy Sprung. 

Centaur Theatre will present Pierre de Marivaux’s 

classic play The Game of Love and 

Chance, adapted and translated by Nicolas Billon 

(March 6 to April 1). First staged in 1730, this romantic 

comedy sees an upper-class girl switch 

places with her maid before meeting the boy her 

father would like her to marry. As it turns out, 

her suitor has also disguised himself as his chauffeur, 

in an attempt to get a more honest look at 

her personality. With servants and masters 

swapping roles, the resulting hyjinks force both 

couples to question the notions of social class, a 

theme also relevant in Intimate Apparel, which 

runs at the Centaur (March 27 to April 29). Apparel 

tells the story of African-American seamstress 

Esther, whose attempts to save money 

while serving the ladies of New York’s high society 

circles in 1905 unexpectedly lead to a marriage 

proposal and a chance at a better life. With 

a script by Pulitzer Prize-winner Lynn Nottage, a 

six-person cast featuring local talent Lucinda 

Davis and a ragtime soundtrack to boot, this one 

sounds like an ideal way to bid farewell to the 

winter woes and welcome in spring. 

LSM 



Visual Arts 

by JULIE BEAULIEU 

VALÉRIE BLASS, 

FEMME PANIER 

PHOTO Max Tremblay 

TOP RIGHT: 

Lyonel Feininger, 

Façades I, Lunebourg 

BOTTOM RIGHT: 

in Traffic: Theodore 

Wan, Bridine Scrub 

(For General Surgery) 

What does this winter’s 2012 artistic and cultural scene have in store 

for us? As the cold-weather season approaches, here are some exhibitions 

I suggest you see this winter, along with a reminder of what is 

currently on show this fall. Enjoy your visit! 

For the first time in almost 50 years, Quebeckers will be able to see 

the first North American Lyonel Feininger retrospective (Jan. 20 to 

May 13). “Lyonel Feininger: From Manhattan to the Bauhaus” at 

Musée des Beaux-arts de Montréal is a comprehensive panorama of 

the works of the painter featuring his early satirical cartoons, comic 

strips, little-known photographs and hand-made wood figures, emblematic 

depictions of carnival scenes, architecture and seascapes. 

Feininger was not just an artist, but also a musician, a talented violinist 

and composer. Music, which played an influential role in the work 

of the artist, holds a special place in this exhibition. 

The Montreal Musée d’art 

contemporain makes way for 

women artists. The “Ghada 

Amer” exhibition (Feb. 2 to 

April 22) presents some of the 

most significant works of this 

Cairo-born American artist. 

“Egyptian artist Ghada Amer 

is inspired by pornography, 

popular culture and ancient 

legends to evoke womanly 

pleasure, obsessive desire and 

erotic awareness,” says Marie 

Christine Eyene, art critic and 

freelance curator. 

Also on show at the Musée 

d’art contemporain is the exhibition 

“Wangechi Mutu” 

featuring the museum’s recent 

acquisition, the installation 

Moth Girls (Feb. 2 to April 

22). The remarkable work by 

Mutu, a Nairobi-born New 

York artist, merges poetic 

symbolism with socio-political 

critique anchored in the memory 

of a land, its roots and ancient 

traditions in a unique 

collection whose aesthetic and 

political issues are still current. 

Still at the Musée d’art contemporain, 

Montreal artist 

Valérie Blass will be honoured 

(Feb. 2 to April 22) in an exhibition 

that will unveil her 

newest works alongside some 

of her earlier ones. 

Jointly curated by several curators from across Canada, “Traffic: Conceptual 

art in Canada – 1965-1980” will be shown concurrently in 

Toronto, Guelph and London and at Concordia University’s Leonard and 

Bina Ellen Art Gallery (Jan. 13 to Feb. 25). It is the first major exhibition 

on the influence and diversity of Canadian Conceptual Art. 

LSM 

• “Up Close and Personal with the Caillebotte 

Brothers. Painter and Photographer: an inside look 

at France in the age of Impressionism” exhibition 

invites you to an intimate meeting between two 

views, two visions. Although photography was still 

in its early stages in the 19 th century, Martial produced 

at least 150 unedited photographs, which 

are hung alongside some 40 paintings produced 

by his brother Gustave—a patron and great friend 

of the Impressionists—including Degas, Monet 

and Renoir. On exhibition at Musée National des 

Beaux-arts du Québec until January 8. 

• Also at the Musée National des Beaux-arts du 

Québec: the exhibitions “Napoleon Bourassa. A 

Quest for the Ideal” (until January 15) and 

“Steichen. Glamour – Fashion and Celebrities. The 

Condé Nast Years – 1923-1937” (until Feb. 5). 

• “Dorothea Rockburne: In My Mind’s Eye” is the 

first retrospective exhibition of the Montreal-born 

NOW SHOWING 

G. CAILLEBOTTE, 

UN BALCON 

artist Dorothea Rockburne, bringing together 

about 50 of her works. Following her studies at 

Montreal’s École des beaux-arts and the MBAM, 

she continued her training at Black Mountain 

College in North Carolina, notably with Franz Kline, 

Jack Tworkov and Esteban Vicente. On exhibition 

until April 8 at the Musée des Beaux-arts de 

Montréal, where the Quebec public will discover 

the development of a Montreal artist’s abstraction 

abroad. There is no entry fee. 

• The 50 or so portraits of Quebec artists painted 

by Richard-Max Tremblay since 1983 are currently 

on display in the exhibition “Tête-à-tête” at Musée 

des Beaux-arts de Montréal until February 5. It is 

worth mentioning that the MBAM collection, which 

has grown significantly since 1980, has resulted 

in the exhibition, “Quebec and Canadian Art 1980- 

2010” and includes some of its outstanding 

acquisitions. 


52 


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