sm23-3_EN_p01_coverV1 copy_sm21-7_pXX 2017-11-01 7:16 AM Page 1 sm23-3_EN_p02-05_ads_sm21-7_pXX 2017-11-01 1:32 AM Page 2 sm23-3_EN_p02-05_ads_sm21-7_pXX 2017-11-01 1:32 AM Page 3

NOVEMBRE À NE PAS MANQUER/NOT TO BE MISSED NOVEMBER Les ch ralies Christmas Concerts December 2-23, 2017

Champ-de-Mars 514 987-6919 marguerite-bourgeoys.com www.L20.ca DAWN UPSHAW - BRENTANO STRING QUARTET Works by Mozart • Respighi • Webern • Schubert • Schönberg

MONDAY DECEMBER 4, 8 PM Théâtre Maisonneuve, Place des Arts 175 rue Sainte-Catherine Ouest, Montréal ANNOUNCE Métro Place-des-Arts your event here! Tickets: 514-842-2112 / placedesarts.com Information: 514-845-0532 / promusica.qc.ca

December 2, 8 pm Église St-Germain d'Outremont 2017-2018 • Canada www.ensemblescholastica.ca www.maSCENA.org

www.imedici.mcgill.ca

DĞƩĂŶƚĞŶǀĞĚĞƩĞͬFeaturing 11 artistes Gilles Auger sur scène chef d’orchestre|conductor Stéphane Tétreault ǀŝŽůŽŶĐĞůůŝƐƚĞ|cellist

ŝŵĂŶĐŚĞ|Sunday ϭϵŶŽǀĞŵďƌĞͮϮϬϭϳͮEŽǀĞŵďĞƌϭϵ ϭϲŚͮϰWD Edward Elgar ŽŶĐĞƌƚŽƉŽƵƌǀŝŽůŽŶĐĞůůĞ Pjotr I. Tchaikovsky >͛ÉŐůŝƐĞ^ƚ͘ŶĚƌĞǁΘ^ƚ͘WĂƵůŚƵƌĐŚ ^LJŵƉŚŽŶLJEŽ͘ϲ ϯϰϭϱƌƵĞZĞĚƉĂƚŚ͕DŽŶƚƌĠĂů͕YƵĠďĞĐ,ϯ'Ϯ'Ϯ Guy Ϯϰ ϯϱϲ

hŶĐŽŶĐĞƌƚĂƵďĠŶĠĮĐĞĚƵ&ŽŶĚƐ͚>ĂĐůŽĐŚĞ͛ŐƌąĐĞĂƵƋƵĞůƚŽƵƐ ůĞƐƉĂƟĞŶƚƐĂƩĞŝŶƚƐĚƵĐĂŶĐĞƌĂƵh^DƌĞĕŽŝǀĞŶƚĚĞƐƚƌŽƵƐƐĞƐƌĠĐŽŶĨŽƌƚƐ ŽŶĐĞƌƚďĞŶĞĮƫŶŐ͚dŚĞĞůů͛&ƵŶĚ͕͛ǁŚŝĐŚƉƌŽǀŝĚĞƐ͚ŽŵĨŽƌƚ<ŝƚƐ͛ƚŽ ĞǀĞƌLJŶĞǁůLJĚŝĂŐŶŽƐĞĚĐĂŶĐĞƌƉĂƟĞŶƚĂƚƚŚĞDh,

ŝůůĞƚƐ/Tickets: 10 $ (ĠƚƵĚŝĂŶƚ/student); 30 $ (ƌĠŐƵůŝĞƌ/general) 90 $ (ƉĂƌƟƐĂŶ͕ƐŝğŐĞƐƌĠƐĞƌǀĠƐͬƉĂƚƌŽŶ͕ƐĞĂƚƐƌĞƐĞƌǀĞĚͿ͖ 150 $ (ĚŽŶĂƚĞƵƌ͕ƐŝğŐĞƐƌĠƐĞƌǀĠƐ͕ƌĠĐĞƉƟŽŶĚΖĂƉƌğƐͲĐŽŶĐĞƌƚ/ ĚŽŶŽƌƐ͕ƐĞĂƚƐƌĞƐĞƌǀĞĚ͕ƌĞĐĞƉƟŽŶĂŌĞƌĐŽŶĐĞƌƚͿ ĐŚĞƚĞnjǀŽƐďŝůůĞƚƐĞŶůŝŐŶĞă ƵLJƟĐŬĞƚƐŽŶůŝŶĞĂƚǁǁǁ͘ĐĞĚĂƌƐ͘ĐĂ ŝůůĞƚƐĚŝƐƉŽŶŝďůĞƐăůĂƉŽƌƚĞ/Tickets will be available at the door WŽƵƌƉůƵƐĚ͛ŝŶĨŽƌŵĂƟŽŶ͕ĐŽŶƚĂĐƚĞnjͬ&ŽƌŵŽƌĞŝŶĨŽƌŵĂƟŽŶ͕ĐŽŶƚĂĐƚ͗ :ƵůŝĂ<ĂƉůĂŶϱϭϰͲϲϱϲͲϲϲϲϮdžϮϮϵ sm23-3_EN_p02-05_ads_sm21-7_pXX 2017-11-01 1:32 AM Page 4

As part of the benefit event 30 ANS DÉJÀ ! BACH ET GRAUPNER RÉUNIS

Laura Andriani Geneviève Soly violon harpsichord Les Idées heureuses Sunday November 19th at 3 pm Bourgie Hall of MMFA

Concert 18 $ / 34 $ - 514 285 2000 # 4 sallebourgie.ca Benefit Event 200 $ - 514 843 5881 ideesheureuses.ca sm23-3_EN_p02-05_ads_sm21-7_pXX 2017-11-01 1:32 AM Page 5

KOERNER HALL IS: “a beautiful space for music” THE GLOBE AND MAIL

Barbara Hannigan with Reinbert de Leeuw FRIDAY, NOVEMBER 10, 8PM KOERNER HALL Soprano Barbara Hannigan, in her Koerner Hall debut with pianist Reinbert de Leeuw, will perform a curated look at the Second Viennese School, where new musical language Janine Jansen, Martin Fröst, was developed through extraordinary Torleif Thedéen, and Lucas Debargue collaboration between artists in the TUESDAY, DECEMBER 5, 8PM / PRE-CONCERT TALK 7PM salons and cafes of Vienna at the turn KOERNER HALL of the century. The program features Violinist Janine Jansen, clarinetist Martin Fröst, Swedish cellist works by Alban Berg, Anton Webern, Torleif Thedéen, and French pianist Lucas Debargue will perform Alma Mahler, and Hugo Wolf. Béla Bartók: Contrasts, Karol Szymanowski: Myths, op. 30 and Olivier Messiaen: Quartet for the End of Time. Generously supported by David G. Broadhurst. Presented in association with Alliance Francaise de Toronto

TICKETS ON SALE NOW! 416.408.0208 www.rcmusic.com/performance

273 BLOOR STREET WEST (BLOOR ST. & AVENUE RD.) TORONTO

MONTROSE TRIO th Sept. 10, 2017 season 126 piano trio 2017-2018 ANDRÉ LAPANTE Oct. 1, 2017 piano BORODIN QUARTET Oct. 22, 2017 strings ALBAN GERHARDT Nov. 12, 2017 Montrose Trio Calidore String Quartet cello MARTIN HELMCHEN Dec. 3, 2017 André Lapante Lise De La Salle piano CALIDORE STRING QUARTET Feb. 4, 2018 Borodin Quartet Jerusalem Quartet strings LISE DE LA SALL E Feb. 25, 2018 piano JERUSALEM QUARTET March 18, 2018 Martin Helmchen Alban Gerhardt Angela Hewitt Rachel Barton Pine strings SALLE POLLACK 555 Sherbrooke St. West RACHEL BARTON PINE Sundays at 3:30 p.m. April 8, 2018 violin Subscription: $300 / Students (26 yrs.): $80 ANGELA HEWITT Ticket: $50 / Students (26 yrs.): $20 April 29, 2018 Non-refundable - Taxes included piano LMMC 1980 Sherbrooke W, Suite 260, Montréal H3H 1E8 514 932-6796 www.lmmc.ca [email protected] sm23-3_EN_p06_TOC2 copy_sm21-7_pXX 2017-11-01 6:45 AM Page 6

Contents LSM VOL 23-3 November 2017

8 Editorial 10 Industry News 12 Susan Platts 16 Alexandre Da Costa 20 Great Canadian mezzos & contraltos 21 Julie Boulianne 22 Éva Gauthier (1885-1958) 24 Handel’s Messiah 26 Collegium 1704 & Vaclav Luks 27 Montreal Bach Festival 27 Saint-Joseph’s Oratory 28 Quatuor Brentano String Quartet 29 Qu4rtz 29 Les Idées heureuses 12 30 Jazz : « Actuelle » autrement 32 Concerts Reviews 34 CD Reviews 36 Special : Audio 46 Higher Education Guide 49 Life After School? 50 Activites at Music Faculties 52 A Singer’s To-Do List 62 Pierre Dury 16 21 54 Calendrar / Concert Picks

RÉDACTEURS FONDATEURS / RÉDACTEUR JAZZ / JAZZ EDITOR TECHNICIEN COMPTABLE / LA SCENA MUSICALE as calendars. LSM is published by La Scène FOUNDING EDITORS Marc Chénard BOOKKEEPING 5409, rue Waverly, Montréal Musicale, a non-profit organization. La Scena Wah Keung Chan, Philip Anson COORDONATRICE À LA RÉDACTION Mourad Ben Achour (Québec) Canada H2T 2X8 Musicale is the Italian translation of The Music / COORDINATING EDITOR CALENDRIER RÉGIONAL / Tél. : (514) 948-2520 Scene. La Scena Musicale VOL. 23-3 Mélissa Brien REGIONAL CALENDAR [email protected], Le contenu de LSM ne peut être NOVEMBRE 2017 NOVEMBER RÉVISEURS / PROOFREADERS Olivier Delaire www.maSCENA.org reproduit, en tout ou en partie, sans Alain Cavenne, Marc Chénard, Tom COLLABORATEURS Production : [email protected] autorisation de l’éditeur. La direction n’est ÉDITEUR / PUBLISHER Holzinger, Brigitte Objois, Adrian Mathias Adamkiewicz, Natasha Ver : 2017-10-31 © La Scène Musicale responsable d’aucun document soumis à La Scène Musicale Rodriguez Beaudin Pearson, Pierre Chénier, la revue. / All rights reserved. No part of CONSEIL D’ADMINISTRATION / COUVERTURE / COVER Alexandre Da Costa, Nathalie De ABONNEMENTS / SUBSCRIPTIONS this publication may be reproduced BOARD OF DIRECTORS Tom Inoue, designer Han, Olivier Delaire, Marie-Claire L’abonnement postal (Canada) coûte 33$ / without the written permission of LSM. Wah Keung Chan (prés.), Martin GRAPHISME / GRAPHICS Fafard Blais, Gregory Finney, Marion an (taxes incluses). Veuillez envoyer nom, ISSN 1486-0317 Version imprimée/Print Duchesne, Sandro Scola, CN Bruno Dubois, Hefka, Ted Sancton Gerbier, Charles Geyer, Benjamin adresse, numéros de téléphone, télécopieur version (La Scena Musicale); COMITÉ CONSULTATIF / [email protected] Goron, Xenia Hanusiak, Viviane et courrier électronique. Tous les dons seront ISSN 1913-8237 Version imprimée/Print ADVISORY COMMITTEE GÉRANTE DU BUREAU / Jeanson-Delorme, Hassan Laghcha, appréciés et sont déductibles d’impôt version (La SCENA); Gilles Cloutier, Pierre Corriveau, OFFICE MANAGER Brigitte Objois, Maurice Rhéaume, (no 14199 6579 RR0001). ISSN 1206-9973 Version Internet/Online Maurice Forget, C.M., Ad. E, Jean- Brigitte Objois Adrian Rodriguez, Jenna Simeonov, version. Sébastien Gascon, Julius Grey, ABONNEMENT/SUBSCRIPTIONS & Dino Spaziani, Richard Todd, Nadia LA SCENA MUSICALE, publiée sept fois par Envois de publication canadienne / Virginia Lam, Margaret Lefebvre, DISTRIBUTION Turbide, Arnaud G. Veydarier année, est consacrée à la promotion de la Canada Post Publication Mail Sales Stephen Lloyd, Constance V. Pathy, Olivier Delaire TRADUCTEURS / TRANSLATORS musique classique et jazz. Chaque numéro Agreement, Contrat de vente C.Q., Jacques Robert, Joseph FINANCEMENT / FUNDRAISING Mélissa Brien, Isabel Garriga, Cecilia contient des articles et des critiques ainsi que No.40025257 Rouleau, Bernard Stotland, FCA Natasha Beaudin Pearson Grayson, Brigitte Objois, Karine des calendriers. LSM est publiée par La Scène ÉDITEUR / PUBLISHER WEB PROGRAMMER Poznanski, Dwain Richardson, Adrian Musicale, un organisme sans but lucratif. La Wah Keung Chan Raouf Ferdjani Rodriguez, Lina Scarpellini Scena Musicale est la traduction italienne de PUBLICITÉ / ADVERTISING BÉNÉVOLES / VOLUNTEERS La Scène Musicale. / LA SCENA MUSICALE, RÉDACTEUR EN CHEF / Adrian Sterling, Dino Spaziani Wah Wing Chan, Lilian I. Liganor published 7 times per year, is dedicated to the EDITOR-IN-CHIEF promotion of classical and jazz music. Each Wah Keung Chan edition contains articles and reviews as well 6 NOVEMBER 2017 sm23-3_EN_p07_Dury_ad_sm21-7_pXX 2017-11-01 6:14 AM Page 7

LES ANNÉES LIBRES PIERRE DURY photographe

November 29, 2017 to January 14, 2018 The Centre d’art Diane-Dufresne is pleased to pay tribute to photographer Pierre Dury by offering a retrospective of the last 50 years of this poet of the image. On the menu, the thousand faces of Quebec. PIERREDURY.COM

CENTRE D’ART DIANE-DUFRESNE 11, allée de la Création, Repentigny (Qc) J6A 0C2 450 470-3010 Wednesday to Friday / Mercredi au vendredi : 13 h à 17 h Saturday & Sunday / Samedi et dimance : 10 h 17 h FREE / ENTRÉ LIBRE / ville.repentigny.qc.ca/cadd sm23-3_EN_p08_Editorial2_sm21-7_pXX 2017-11-01 6:20 AM Page 8

editorial DE LA RÉDACTION

elcome to the NEW La Scena Musicale in full The La SCENA Arts Magazine returns in the French evolution! You hold in your hands your mag- edition with a 7-page special on Dance. azine in a new all-colour, all-glossy format. We celebrate the 20th anniversary of It’s a key step in elevating our magazine to Danse Danse and offer interviews with the rank of a high-end publication, worthy of Ivan Cavallari — incoming artistic director theW prestige and reputation that La Scena has gar- of Les Grands Ballets — and Frédérick nered over its 21-year history. Gravel. We also look at dance education Stéphane Pilon of the University of Montreal and visit the new Espace Danse in the provoked the idea in the summer of 2016. He ad- Wilder building. A double-page spread on mitted that he found the newsprint of La Scena’s photographer Pierre Dury rounds out our first 21 years to be rather dingy, making the mag- Arts coverage. azine appear cheap rather than matching its pres- Our regular features — music coverage, CD tige. We looked at the different options for reviews, Jazz column, Regional Calendar, switching to glossy. If we went all-glossy with the concerts picks, along with our recently intro- same number of copies, we would face signifi- duced Concert Reviews — are now in cant added costs. This is a big risk for any non- sparkling colour. profit. More content means more new contributors Ultimately, it was a risk that our Board ac- and collaborations, and this issue begins a part- cepted. We felt the change would offer multi- nership with Jenna Simeonov of the Schm- ple benefits: for the music community, pages opera blog. As well, our French edition includes of greater worth; for readers, more colour, con- the 2017 edition of Entracte, the revue of the trast and ease of reading; for advertisers, Guilde des musiciens et musiciennes du Québec. gleaming adverts; and for publishers, more ad- Our magazine is your magazine vertising and subscriptions. We believe that the From the very beginning the La Scena team new format will finance itself through advertis- was driven by insatiable curiosity, and this is ing, donations and subscriptions. We give a spe- still true today. In an era of instant informa- cial thanks to our many advertisers and partners tion from the Internet, we still feel the need for for supporting this transformation. curated content, which you will find in abun- dance in our print magazine. Further, all of SPARE THAT DIME! our content is available on our website, trans- With this issue, we launch a fundraising and sub- lated into both official languages for our paid scription campaign. We hope that at least five subscribers, making La Scena unique among donors will join our Signature Club with a mini- the independent publications that serve mum $1000 donation, and we hope that at least Canadians from coast to coast to coast. 100 of you will become new subscribers. Our website mySCENA.org continues our 21-year tradition of offering news and MORE HIGH-QUALITY ARTICLES an event calendar in both languages, and We decided to launch the NEW La Scena in our first our Facebook page is regularly updated national issue of the season, with 50,000 copies di- with the latest news and video picks. In vided equally between separate English and French January next year we will introduce fur- editions (double that of our usual bilingual edition of ther tools to enhance mySCENA.org. 25,000 copies). It also contains our 18th Guide to Above all, our magazine, La Scena, is your Higher Education. The subject of the French cover magazine. It was created to serve you, our readers, to inform and to story, violinist Alexandre Da Costa, shares his thoughts on music ed- educate and to promote music and the arts. Let us know how you like ucation, while our English cover artist, mezzo-soprano Susan Platts, the new format and content; give us your suggestions and requests for recounts her surprising path to success. future features. As always we welcome new collaborators and volun- The NEW La Scena is part of our 2017–18 editorial plan to publish teers: writers, translators, editors, subscribers, donors and advertis- more high-quality content; our aim is to grow the number of pages by ers. Our doors are open. 15% to 20%. This November issue is right on course, offering a wide va- riety of themes. To celebrate Canada 150, we continue our series on great Canadian singers with a look at mezzo-sopranos. In addition to Platts, Pierre Chénier gives us his view of four of Canada’s top mez- zos, while new contributor Charles Geyer makes Cinderella magical with Julie Boulianne. We meet Eva Gauthier in part I of Nadia Tur- bide’s historical essay. Choral music is represented by a fresh look at Handel’s Messiah and performances of Bach’s Christmas music. Music is also about sound and listening. This issue contains our first annual special on Audio, with no fewer than nine articles, discussing WAH KEUNG CHAN, the technology and the industry. Founding Editor

8 NOVEMBER 2017 sm23-3_EN_p09_Congrats copy_sm19-1_FR_pXX 2017-11-01 1:40 AM Page 7

CONGRATULATIONS

21 years of promoting BILLETS DE music and the arts FINANCEMENT FUNDRAISING TICKETS pour / for La Scena Musicale

• LE BARON TZIGANE, opérette de Johann Strauss jr, Opéra bouffe de Québec. Nov. 10,11, 12m, 17, 18m, 19m : 37 $ • LA CENERENTOLA, Rossini, Opéra de Montréal Nov. 11, 15% 14, 16, 17 : 90-176 $ rabais discount • MARIE-JOSÉE LORD chante Noël, Dec. 17, Chateauguay, 50 $ • JFK, Little & Vavrek, Opéra de Montréal Jan. 27, 30, Fev. 1, 3 : 90-176 $ • ROMÉO ET JULIETTE, Gounod, Opéra de Montréal Mai 19, 22, 24, 26: 90-176 $ Merle and Bernard Stotland Family Foundation Appelez au 514-948-2520 ext.1 ou [email protected] pour acheter votre billet! 15 % rabais pour abonnés

Contact 514-948-2520 ext.1 or [email protected] to buy your ticket! 15% discount for subscribers

www.lascena.ca sm23-3_EN_p10_11_News_ad2_sm21-7_pXX 2017-11-01 6:12 AM Page 10

Industry NEWS by MARC CHÉNARD

PRIZES AND AWARDS of 2018. Beyond the monetary awards of director of the event he founded, including the selling of his shares. Moreover, he has stepped New York’s Concert Artists Guild has just $25,000 and $5,000 respectively, the musi- down from the city’s 375th anniversary announced the winners of its annual Victor cian will also benefit from a three-year artist celebration committee, over which he had Elmaleh Competition. The Argus String management contract and another for the pro- presided. These revelations have brought Quartet shared top honours at this year’s duction and distribution of a CD. A keyboard condemnation from all quarters of the commu- 67th edition, sharing first prize with pianist virtuoso, adept at both the harpsichord and nity and embarrassment to current mayor Dominic Chieli, with violinist Yoojin Jang jazz piano, Chriss previously earned top hon- Denis Coderre, endorsed by Rozon for re-elec- finishing second. All awardees earn a right to ours at two similar competitions in his home tion on November 5. News has travelled quickly join the CAG’s artist roster, including an country. Now with three wins in his pocket, he since, with reports appearing both south of the exclusive two-year management contract. claims to be finished for good with competi- border and in Europe. In France, Rozon had These performers will make their Carnegie tions. been a long standing jury member of a talent Hall debuts during the 2018–19 concert The iconic jazz pianist Chick Corea, 75, and search show, and his actions have forced him to season on the CAG Presents concert series. the versatile drummer Steve Gadd, 72, have quit. Rozon, 63, has expressed his deep regret The Argus Quartet has been offered tenure as been granted honorary doctorates by the while offering apologies to all concerned par- the string quartet in residence at the Juilliard Eastman School of Music. On October 13, ties. But as one says, the higher they rise, the School of Music for the fall semester. A Naxos both musicians were bestowed this honour harder they fall. recording artist, pianist Chieli is based in Los during a ceremony which also included a On an upbeat note, the Canadian Opera Angeles where he studies at the Colburn performance by these long-time associates, Company in Toronto has extended the contract Conservatory. now in the midst of a year-long world tour. of its current General Director Alexander Neef Canadian mez zo Corea’s career spans more than five decades, until the 2026–2027 season. First hired in this Emily D’Angelo including his legendary association with position ten years ago, Mr. Neef has achieved, picked up second Miles Davis. He has fronted a host of other according to Mrs. prize recently at groups, of which his mid-1970’s Colleen Sexsmith, the 30th edition of band Return to Forever was one of chair of the COC’s the Neue Stimmen the most celebrated of the jazz fu- board, “visionary voice competition sion groups. Celebrated worldwide, artistic leadership in Gütersloh, Ger - he has been nominated 63 times for [that] has signifi- many. Top honours Grammy Awards and has netted 22 cantly advanced went to the 24- of them, a remerkable accompish- our company’s in- year-old Bulgarian ment to say the least. Known for his ternational profile mezzo-soprano work in both acoustic and electric and reputation, at- Svetlina Stoyanova jazz, he has also crossed over into tracting the PHOTO: DANIEL DENINO earned, while bass funk music and even classical, in world’s best artists Cho ChanHee which he has composed both a piano for significant role from South Korea finished first among male vo- concerto and a string quartet. Steve debuts and per- calists. Cash prizes of €15,000 were awarded to Gadd is both a native of Rochester, formances as well each winner, with second and third prizes re- home to the Eastman School, and an as creating new ceiving €10,000 and €5,000 respectively. alumnus of this institution. He has productions of Presided over by the prestigious Bertelsmann lent his talent to a host of headliners critically impor- Foundation, this competition is now recognized in the popular music field, including tant works and worldwide as one of the prime talent search Paul Simon, the Bee Gees and James collaborating with competitions in the field of opera singing. Taylor. According to the pianist: CHICK COREA industry-leading Dallas native “Every drummer wants to play like organizations.” By Alcée Chriss III Gadd because he plays perfectly ... the same token, the COC also reports a surplus was a double win- He has brought orchestral and compositional for its previous season, slightly exceeding its ner at the 2017 thinking to the drum kit while at the same budget of $43 million. Of that amount, no less Canadian Interna- time having a great imagination and an than thirteen million dollars were raised by tional Organ Com- ability to swing.” fundraising campaigns. petition, held last month in A DEMOTION, A PROMOTION Montreal. A third- On the heels of the recent Weinstein scandal in ERRATA year doctoral stu- Hollywood, yet another case of sexual harass- Due to a production error in the October dent at McGill ment now rocks the entertainment world, this issue, Denis Robert was not clearly identified University, this 25- one in Montreal. Gilbert Rozon, founder and as the author of the Magda Olivero article. year-old American director of the city’s Just for Laughs Festival, We apologize. LSM won first place in a a.k.a. Juste pour rire, has nothing to laugh ALCÉE CHRISS field of six finalists about anymore. Two Quebec actresses have ac- as well as the cused him publicly of grabbing them several Gérard-Coulombe Bach prize, which earns years ago, adding more fuel to the current him a performance opportunity at the forth- #MeToo campaign on social media. The coming Montreal Bach Festival in the spring ensuing outcry has forced Rozon to resign as 10 NOVEMBRE 2017 sm23-3_EN_p10_11_News_ad2_sm21-7_pXX 2017-11-01 6:12 AM Page 11

ABONNEZ- VOUS! CD GRATUIT 21ans/years avec chaque abonnement de 2 ans SUBSCRIBE NOW! NOUVELLES OPTIONS FREE CD with each 2-year subscription • Abonnement pour musicien: inclut 7 petites annonces de base réparties NEW OPTIONS sur 7 numéros et 2 éditions • Musician Subscription: includes 7 free (une valeur de 241$) : 70 $ par année basic classifieds ads in 7 issues, both • Abonnement commercial: inclut 8 editions (a $241 value): $70 per year. parutions gratuites dans les communiqués de LSM en ligne • Industry Subscription: includes 8 free (une valeur de 230 $) : 70 $ par année postings to LSM Newswire (a $230 value): $70 per year. YOUR SUBSCRIPTION INCLUDES: VOTRE ABONNEMENT INCLUT: » La Scena Musicale (7 editions) » La Scena Musicale (7 numéros) » Eligibility for prize draws during the year » L’admissibilité à divers concours pendant l’année Charitable OrganizationNo.: 141996579 RR0001 No d’organisme de charité : 141996579 RR0001

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NUMÉRO DE CARTE CARD NUMBER DATE D’EXPIRATION ENVOYEZ CE COUPON À: LA SCENA MUSICALE SEND THIS COUPON TO: 5409 WAVERLY, MONTREAL, QC SM23-2 H2T 2X8 sm23-3_EN_p12-15_Susan_Plats_ads2_sm21-7_pXX 2017-11-01 7:13 AM Page 12 sm23-3_EN_p12-15_Susan_Plats_ads2_sm21-7_pXX 2017-11-01 7:13 AM Page 13 SUSAN PLATTS MAHLER, MENTORS AND MUSIC EDUCATION

by GREGORY FINNEY

ritish-born Canadian mezzo Susan Platts a perfect vehicle to show off her wide Platts has been delighting audi- array of dynamics and colours. Her chest voice ences around the world with her rang effortlessly through Roy Thomson Hall, expertise in art song; her first solo and her high register was just as warm and album of songs by Robert Schu- dazzling as her low register. Her connection to mann, Clara Schumann and the audience was palpable. During the Mahler, Johannes Brahms earned her we were treated to a warm, inviting perform- critical acclaim. Known for her ance. The finale, Der Abschied, was a definite B Mahler interpretations, she’s been highlight. This was an evening of music featured on recordings singing presented by an artist who knows her craft. both the full and concert versions of Das Lied “A Tribute to Maureen Forrester” had two von der Erde and Lieder eines fahrenden performances at Toronto’s Roy Thomson Hall, Gesellen. She’s sung Mahler with symphonies hosted by Canadian superstar tenor Ben from San Diego to Baltimore, Toronto to Santa Heppner, and was a touching celebration of Barbara, and Philharmonics from Boston to the life and career of one of Canada’s true New Mexico, to Calgary and Krakow as well as musical legends. The evening featured two Orchestre Métropolitain, Canadian Opera things that were dear to Forrester’s heart — Company Orchestra, and Germany’s original Canadian compositions and Mahler’s Staatskapelle Halle. And that’s just the tip of Das Lied von der Erde. Forrester was chair of the iceberg; Platts is also becoming more the Canada Council for the Arts from 1983 to active in the opera world, having performed 1988 and during her tenure was a champion everything from Dido and Aeneas to Nixon in for the creation of new Canadian works. The China while hitting Wagner, Britten, Bellini, show featured clips of Maureen giving inter- Bernstein and Gluck along the way. The views while on tour and heart-warming National Post called her “the next Maureen accounts of her humour, grace, intelligence, Forrester” and she’s received rave reviews and talent. It was humbling to see how much from publications like The New York Times, Forrester accomplished in her lifetime. From Washington Post, and Toronto Star. her beginnings in Montreal through a career It took a few tries to get the best connection that spanned decades and fostered a great for our interview. I was calling Susan from growth in Canadian music, it was no wonder Montreal and she was at her home in Chicago she had been inducted into the Canadian after singing two performances with the Music Hall of Fame — a rare feat for a classical Toronto Symphony Orchestra under Peter musician, as Heppner noted. Oundjian the previous Thursday and Friday. “How were you connected to Maureen?” I Truth be known, I hadn’t ever met Platts in asked, curious to hear as many anecdotes I person. I had just heard her premiere Howard could about the legend. “I think I met her first Shore’s new song cycle, L’Aube; it was a great through Neil Crory,” Platts began, “We had a night of music making. Platts sang with her few sessions together and we’ve had tea a few distinctively rich, dark, soulful tone. She times.” Platts reminisced about Maureen’s performed with a poise and reverence that generosity and kindness. They worked drew you in from the moment she stepped to together on Mahler, one of Forrester’s her music. Her expertise in art song was specialties. The contralto had become a friend evident as she communicated every nuance of and dear colleague of conductor Bruno Wal- the text, all while seeming to relish the actual ter, Mahler’s own protégé. Platts recalls production and pronunciation of the words. having tea with Maureen and hearing a The Shore piece was a big sing and it gave recording of Forrester singing the Rückert- NOVEMBER 2017 13 sm23-3_EN_p12-15_Susan_Plats_ads2_sm21-7_pXX 2017-11-01 7:13 AM Page 14

loved drawing and painting and planned on going into graphic design. However, something clicked during her singing lessons, and the idea of attending the Victoria Conservatory popped up. “I could do a two-year program,” she said, “with the option of continuing on at the University of Victoria and obtaining a degree.” However, prior to starting, her voice teacher, Alexandra Browning-Moore, resigned her position at the Conservatory. “I had two options: I could continue and go on to the Conservatory and get a new voice teacher, or I could stay with her and study privately. Since I was so new to this and since I was making such good progress, I decided to stay with her.” She talks about how great and supportive her parents were every step along the way. “They trusted me and knew I was a good worker. They said ‘If this is what you want to put your energy into, we’re behind you.’” The comfort of knowing she had such support allowed Platts to pursue a training regimen outside the norm. MICHAEL SCHADE, SUSAN PLATTS, PETER OUNJIAN, TORONTO She continued taking private lessons, SYMPHONY, OCT. 19, 2017. PHOTO: JAG GUNDU studying music theory, piano, and history, all while focusing on her singing. “I was very Lieder. “I remember sitting with her. She receiving the Order of Canada ... He’s going to disciplined and a couldn’t remember the names of all the people try to stick around for the Ottawa good worker, so she worked with [on the recording] but she performance.” The program is due to be remembered every word. I watched her sing repeated with the Ottawa Symphony Or- along with so much emotion. It was special.” chestra on Monday, November 20 at the How did L’Aube come about? “I’m not sure if National Arts Centre. “It’s a big sing, it was the Maureen Forrester tribute that came but if I can speak this soon after first or the commission, but it was a perfect fit.” doing it twice, I’m excited to per- The TSO had discussed Platts’ return to their form it again in Ottawa,” she stage and performing a program of Mahler and chuckled. perhaps premiering a new work. The piece was The night was a tour-de- commissioned by the TSO to be composed by force that covered a huge ex- the award-winning composer, Canada’s own panse both dynamically and Howard Shore. “I think there were a few other melodically. “You just have to singers in the running,” Platts said. “I was told let go and sing the music, you that Mr. Shore wanted to chat, so we had a have to trust your technique. phone call ... at the end he said, ‘I look forward Especially with a piece like Der to collaborating with you’ so I thought, Well, I Abschied” — the final movement guess I’m doing this then!” of the Mahler — “you can’t let Platts met with Shore several times to sing worrying about your technique through the piece. She got to know him and get in the way. That’s why we his wife quite well over a working trip to New study.” York. “We were out to dinner and he was Speaking of studying, I asked her telling all these great stories from SNL.” about her musical education and back- (Shore had been the music director for ground. “Well, that’s interesting. Here’s Saturday Night Live, 1975–1980). “He was a the thing, after High School, I didn’t have delight,” she said in a way that you could hear any official training or certification.” her smile. Working with him was “a perfect Platts got her start in her grade eleven fit”, Platts gushed, “My input was welcomed year in Victoria, BC, singing in the and I felt he really understood my voice.” choir. She could n0t read music and L’Aube (“Dawn”) draws its libretto from there weren’t any musicians in the poet Elizabeth Cotnoir, a frequent collaborator family, so as a kid musical edu- with Shore. “I just find the piece so accessi- cation wasn’t a priority. How- ble,” Platts says. “It’s such a gentle, touching ever, she was told that she reflection on the earth and our relationship should consider private les- with it, without mentioning exact, specific sons because she did have a things.” The subject matter of the poems beautiful voice. “I never marries perfectly with the texts from Mahler’s thought, at any point, Das Lied von der Erde. “He was just so happy that this is what I was to hear his music performed,” Platts says of going to do,” Platts con- her first sing-through for Shore. “He’s fessed. As a teen she 14 NOVEMBER 2017 sm23-3_EN_p12-15_Susan_Plats_ads2_sm21-7_pXX 2017-11-01 7:13 AM Page 15

my modified path really worked for me.” She did agree that self-discipline was the major factor in her success with such an approach. Prelude, November 8 Eventually, after singing in a concert about a year later, one of the audience members with connections to Jessye Norman told Platts Novembre 17 about the new Mentor and Protégé Arts Ini- to December 3 tiative. Platts submitted and before she knew it, out of 26 international competitors she had been selected as one of four singers chosen to sing for Norman. Afterwards, each had a one- on-one with the legend, and finally, Norman chose Platts. “I was chosen in 2004,” Platts remembers, “and we still have a great rela- tionship today. We still get together for coach- ings or just go to lunch or dinner and catch up.” Subsequently, through lots of hard work and dedication, Platts went on to forge a ca- reer that spans the globe and boasts an Presented by impressive repertoire. The Rolex Mentor and Protégé Arts Initia- tive support provided Platts with the oppor- tunity to commission a new work for mezzo-soprano and orchestra. The piece was titled “Under the Watchful Sky” with libretto taken from the ancient Chinese texts of the Shi Jing (Book of Songs). The piece was com- posed by Canadian Marjan Mozetich and pre- miered in 2010 by the Quebec Symphony under Yoav Talmi. Naturally, along with this and her expertise in Mahler, she was a perfect fit for a tribute to a singer who championed both during her illustrious career. “It just made sense, you know?” Platts added as we continued talking about Maureen’s passion You will for new music. “I think she would have really liked the program.” understand ... Platts has continued private studies with you won’t just Norman and her coach Alan Darling in Chicago while maintaining her career, noting imitate ! how singers are always studying something. Nov. 8 “You never stop, you know? You’re always reading or studying.” Thomaner “I must be doing something right,” she Nov. 17 laughed, “if I’m still doing it 24 years later [at forty-four].” That’s putting it mildly. Looking Collegium 1704 at her upcoming schedule, she shows no sign of slowing down. LSM Nov. 21 Passion selon Upcoming: Platts will sing Elgar’s Dream of Gerontius with the Vancouver Symphony Orchestra (November 4 St-Jean d’Arvo Pärt artistic MONIQUE GOYER director From the age of 3 From & 6); she will repeat A Tribute to Maureen Forrester Nov. 24 with the Ottawa Symphony Orchestra (November 20); DANCE SCHOOL Messiah at the National Arts Centre (December 22); Arion and with the Colorado Springs Philharmonic, Bern- Nov. 28 stein’s Jeremiah and Mahler’s Lieder eines fahrenden « L’ambiance dans le studio Gesellen (January 27 & 28). c’est comme une grande Julien Prégardien www.vancouversymphony.ca www.ottawasymphony.com famille ! » S.Z. www.nac-cna.ca www.susanplatts.com

Gregory Finney is a regular contributor of Schmopera.com

Studio Espace 215 215, Jean-Talon W. (514) 502-5117 (3rd floor) www.btmtl.com Montreal H2R 2X6 NOVEMBER 2017 15 sm23-3_EN_p16-19_Da_Costa_sm21-7_pXX 2017-11-01 7:02 AM Page 16 THE JOURNEY TO ONESELF By ALEXANDRE DA COSTA

hroughout my childhood, I was only is almost parental, since the teacher becomes Bron, whom I considered the best teacher in aware of two areas of interest: art and more than just a tool for transmitting the world for aspiring soloists. (The list of his education. I saw my mother teaching information: they are confidant, mentor, idol, students includes Maxim Vengerov, Vadim the piano and painting, while my a great source of inspiration, and sometimes Repin, and countless concertmasters of the father worked in theatre. So I never even a rival or opponent. Music students are most prestigious orchestras, including those really wondered what I wanted to do therefore quite mature when they come to of Berlin, London and Vienna). After my T as a grown-up! At age five, I said I graduate school. studies with Bron, I stayed in Europe for more wanted to become an “international My career was a little different from that of than a decade. It was just too difficult to leave soloist”, rather complex terms for a young my colleagues, since I had already obtained a a place where I felt free and accomplished, child, but which led to my meeting with bachelor’s degree in piano and a master’s surrounded by beauty and history. Yehudi Menuhin. Indeed, I well remember degree in violin before the age of 18. I had the Teaching has always been at the centre of my meeting this extraordinary man during his chance to burn through a few steps of my professional and personal life. At twelve, I already 1983 visit to Montreal. My mother and I education, thanks to several of my teachers who had young students. In my early twenties I had wanted to attend his concert at Salle Claude- helped me save a few years in elementary many commitments as a guest soloist and was Champagne and, upon arrival at the venue, we school. I finished high school at the age of often invited to give masterclasses in the same came across none other than Maestro fifteen and used my three years in the university cities as my concerts. I gave a great many public Menuhin himself, getting ready to go on stage. system to attend two different institutions in lessons in dozens of countries and it was an ex- In all youthful innocence I told him that he two different but complementary programs cellent training. Because when you teach pri- was my idol and that I listened religiously to (piano and violin) and thus obtain my degrees vately, there is no tension other than the one you all his documentary children’s tapes. I almost simultaneously. This background was want to keep between the student and yourself. remember that he smiled, told me a few words accompanied by some less positive repercus- When teaching a student in front of hundreds of that I cannot remember, and rumpled my hair sions, since I felt the tension at university people, it is necessary to get an idea quickly of the in a paternal way. Today I can say that this created by my young age. I was not able to get psychology of the student. I do this not only to moment marked the beginning of my musical as close to my teachers as I would have liked, offer the audience an interesting lesson but also to and artistic quest. which had an impact on my academic career. inspire more deeply the pupil who is playing, Teaching is at the heart of musical learning Indeed, one should never underestimate the whether they are at an advanced level or not. from the very beginning of the process. To value of student-faculty contacts and what these This series of public lessons taught me to nurture serious ambitions in classical music, relationships can bring later in life. For react at lightning speed, to draw on my knowl- one must start learning and working with an example, a good student who has forged edge, and to transmit it in a serious and positive instrument very early, but it is difficult to find relationships with their professors will have a way. I would like to emphasize the word “posi- a good teacher who adapts well to children. It better chance of associating with this institu- tive”, because to teach music, we must all is an art to be able to inspire children of five or tion in the future, and similarly of benefiting understand that students have to overcome six and convince them that they must practise from the recommendations of these same challenges that are not necessarily related to seriously every day. Of course parents have to teachers once in the professional environment instrumental technique or musicality. Often help, but if the child doesn’t want to practise outside the university. If I have any essential there are psychological challenges, connected and shows no enthusiasm, it is a waste of time. advice to give to new students, it would be to with all sorts of complexities and fears, includ- I was lucky to have very good teachers during choose the right institution and to view each ing that of playing in front of an audience. my childhood. These teachers gave me the course, each relationship with the faculty, and To motivate students, various techniques willpower I needed to improve quickly and the each performance as a professional opportunity have been applied by great masters for nearly rigour to fulfil my ambitions. that may have an impact on one’s future career. a hundred years. For the violin, the most Even before going to university, most young For a student, the location of the university effective — but also the most brutal — was that musicians have already had more than a is of paramount importance, since the links of the Soviet school. Indeed, the USSR bloc decade of individual instruction from top-level that are formed during these few years of housed an army of great and fantastic teachers who shared their expertise. (It is a higher education are often more valuable than musicians, all motivated by the artificial desire very special learning system that differs one may expect. If, for example, a student to stand out in the communist system in order completely from the traditional and general from France comes to live in Quebec for their to access the benefits reserved for the best of system, where one imagines classes of more bachelor’s degree, they are more likely to settle their respective circles. Like Olympic athletes, than thirty students receiving information and there after graduating. For me, that’s what instrumentalists began to see the art of playing making requests of a single teacher). In music, happened. I left for Europe after graduation, at a very high level as a way to a better life. For the privileged relationship with a great teacher intending to study for a few years with Zakhar the teacher, everything seemed permissible, 16 NOVEMBER 2017 sm23-3_EN_p16-19_Da_Costa_sm21-7_pXX 2017-11-01 7:02 AM Page 17

PHOTO : LAURENCE LABAT

since teachers and students who were ambitious violinists who followed him every- remember my lessons with Rainer Honeck, successful in representing their country by where. We did not mind hitchhiking, sleeping Concertmaster of the Vienna Philharmonic winning awards and medals in international in train stations, or waiting all day for the Orchestra, Gerhard Schulz, member of the competitions were rewarded upon their master to give us a few minutes of attention Alban Berg Quartet, and Johannes Wildner, return. Teaching techniques that had more to and lessons, all in the hope of becoming renowned conductor and former member of do with psychological control, brainwashing, “great” violinists. And our master knew how the Vienna Philharmonic Orchestra. These and military training were applied to count- to play with our minds! I will always remem- artists never imposed a musical choice on me, less musicians, many of whom nonetheless ber how he summoned us to his studio early never pointed out to me my ignorance, but went on to make history. in the morning to give us an approximate instead raised crucial questions that made me My master Bron told us many horror lesson schedule, often offering us late-night want to learn and perfect my musical educa- stories, including the disturbing methods of time slots. He presumed that we would lock tion. I must also mention that, incredibly, preparation for international competitions. ourselves up all day in a rehearsal room. If he none of these musicians ever demanded Apparently teachers’ committees woke up found us out of our studio at certain times of financial compensation for the countless gifted students in the middle of the night and the day, he would simply cancel the lesson hours of lessons they gave me in private, as I demanded that they play long and difficult altogether and say that if we had time to was not attached to any institution. In short, programs on the spot, so that they would sunbathe or chitchat, then we did not need his these musicians gave their precious time become reflex machines and performance valuable teaching! In short, total and exces- simply to help a young musician who seemed beasts who would not be affected by stress and sive psychological control. I must say, motivated. These are gifts that shaped my the unexpected. It can be said that this however, that it worked well for me. At the end youth, and today as an educator I try to give regimen was effective after a number of years, of my studies with Bron I was trained, back and donate my time as often as possible, since from this system were born wonderful “drilled” as they say in the army. I could to help passionate students who demonstrate artists. What we cannot fully measure is the handle stress without any problem, stay cool a healthy and enlightened ambition. harm that these techniques of pseudo-teach- in extreme situations, and cope with the It is this background, and more, that today ing left behind. A true musician must be intimidating techniques of certain conductors. dictates my behaviour as a teacher and men- inspired, not forced. Art and beauty are born After Bron, I left for Vienna where I tor. I want — like all my colleagues, I’m sure — out of necessity, yes, but also out of wonder, a obtained a graduate degree. That’s when my to combine the best of all my former teachers, sincere desire to share, and hard work and real life as a musician began. In this city no even being the ultimate version of what I ambition. It is a clever mix that the teacher control technique is required, since the city would have liked to find in the ultimate must provide in order for the student to aspire itself gives musicians a unique perspective. In master. I have worked as an educator in the to take the right path. Vienna we find all levels of music, from the higher education system for over a decade and My student experience was born of a best to the worst. Depending on our prepara- have learned much, especially from those mélange of different scenarios and techniques. tion and seriousness, we reach one level or experiences that have changed me and made I started at the Conservatoire du Québec, another and we integrate into the music me realize the real needs of today’s students. where I was able to train at a high level as a community or we don’t. It’s simply the law of ndeed, today’s reality is not that of the Cold complete musician. Thanks to this system, the jungle: only the strongest survive. When I War years, or the golden age of record labels which included the preparatory years, I was arrived in Vienna, I thought I knew everything and large agencies, or orchestras regularly able very early to become a musical “scholar”. I needed to know in music and that I could subsidized by governments. Today, young I remember, for example, passing sight-read- play anything at the highest level — but I had graduates face a more diverse, complex and ing exams at age twelve by singing in five never been so wrong! I knew how to play the competitive world where money is scarce. In different keys, G, F, C, etc. (In comparison, I violin and could move my fingers faster than short, it is a world very different from that of think the violin students I meet today would lightning, but was I a true, intelligent, my teachers and surely different from mine. probably not be able to read notes except in educated musician? No. I needed now to We must keep in mind the reality of the the G clef — used for violin scores — since few become a real scholar, to be thirsty, to find the modern music industry. of these students receive any pre-university deep meanings of music. The world of music has also changed partly musical training apart from playing their In Vienna I met amazing teachers, because of globalization. Thirty years ago, instrument). violinists, conductors and other musicians. I taking the Vienna Philharmonic as an example, In Europe I studied under the Soviet system learned so much by rubbing shoulders, it was normal to think that a certain Viennese with my master Zakhar Bron. I was near to exchanging ideas, and playing for them. Later professor could open a major door into this him for four years and literally became one of I became aware of the incredible value of their his close apostles. We were a small group of respectful and inspiring teaching. I will always continued on p. 19 NOVEMBER 2017 17 sm23-3_EN_p16-19_Da_Costa_sm21-7_pXX 2017-11-01 7:02 AM Page 18 ALEXANDRE DA COSTA VIOLINIST ON A MISSION

By WAH KEUNG CHAN

PHOTO : CARLOS GUERRA

anadian violinist Alexandre Da Costa is a influenced by the United Kingdom and there European version of the Stradivarius at the man on a mission. Soloist, educator and are innumerable common points between the Opera album on the Sony Classical label, and as artistic director, Da Costa is shouldering two countries, both in terms of customs and the Guest First Concertmaster for three concerts his new Strad to reach the general public morals and in everyday life. I am personally of the new year at the Wiener Konzerthaus. with his “Stradivarius at the Opera” proj- very much relaxed in Australia since it is quite A few days later in Germany I will record a CD Cect, the first of several new initiatives. He’s al- the opposite of Spain, my previous adoptive dedicated to the Wagner family, including the ready added to his résumé a prestigious TED country. In Australia, politeness, calm and concerto for violin and orchestra by Siegfried Talk in Australia, where he teaches six months rectitude are the most appreciated qualities, Wagner, son of the great Richard Wagner. I love of the year. and they open doors. My son attends pre- this work and I hope to make a final version that kindergarten and he is learning all of this can eventually become a reference in the field. LSM: What do you value the most? already. In fact, he speaks English with an Aus- My family is now the absolute center of my tralian accent and French with a Québécois LSM: Your image seems to have changed life. Of course, becoming a father changes life accent. It is very funny! in the last year: we see you more often and my three-and-a-half-year old makes me playing classical music in non-traditional realize the essence of it. I also believe that my LSM: What surprised you in Australia? media. Tell us about this new direction. music playing has completely changed since Actually, when I came the first time, I was Indeed, for more than a year I’ve worked with his birth and that I finally understand what expecting to arrive in a part of the world where great people to develop my projects. I became music should mean. everything was adventure and safari. I was an artist of Productions Jacques K. Primeau expecting to see Crocodile Dundee with his hat and L’Équipe Spectra. These two entities have LSM: How do you adapt the logistics and boots! But on the contrary, I found a very incredible resources to help realize my artistic of family with your concert and teaching ? civilized and urban place, very modern and dreams. I have always wanted to share classical Definitely, the structure of my life right now is very advanced at the same time. music with a wider audience and convince as rather complicated. Indeed, I spend three many people as possible to be interested months in Canada followed by three months LSM: What are the projects that are in -classical music, even if it is not part of their in Australia and so on. I spend the summer in driving you in the next months? past or their immediate traditions. With Quebec mainly for my festival (Festival Inter- From December 2017, my tour “Stradivarius at “Stradivarius at the Opera” we are doing a national Hautes-Laurentides) and the end of the Opera” officially begins. It will be more than whole hat trick. The show is multimedia, it’s autumn and early winter on tour both in a regular tour of concerts. It’s actually a tour of really impressive to see what’s happening Quebec and abroad, and the rest of the time in shows. We will travel with an orchestra, a big around the musicians on stage. The lighting, Asia and in Australia. I try to be with my wife technical team, stage equipment, costumes, in projections, staging, everything is thought of in and son as much as possible, especially during short, a “show” rarely done in classical, worthy a quarter turn and was designed by the firm teaching periods in Australia, but I still have of major productions of Pop and Rock! Silent Partners, known for its design of shows to spend a few weeks alone on the road. We In the coming weeks I will also be a guest of for Justin Timberlake, Taylor Swift and other manage to find some stability. European and American orchestras, including mega-stars. the Vienna Symphony Orchestra and the LSM: What is particular about Australia Staatskapelle Halle, as well as the orchestras of LSM: Should we expect new albums from a personal point of view? Südwestfalen, Edmonton, Winnipeg, Colorado in 2018 and 2019? Australia is a big country, and by big, I mean Springs and West Australia. Absolutely. My relationship with the Sony very serious and well organized. The system is I cannot wait to go back to Vienna to work Classical and Spectra Musique labels has just generally very similar to Canada, but there is with the Wiener Symphoniker and Maestro started, there are many future projects. Some will also the British side that can be found in every- Philippe Jordan. It will be a very special week, as be recorded in a few months, and others will take thing. Indeed, Perth is a city extremely I will play as a guest soloist for the launch of the a few more seasons, but there will be something 18 NOVEMBER 2017 sm23-3_EN_p16-19_Da_Costa_sm21-7_pXX 2017-11-01 7:02 AM Page 19

Da Costa...continued from p. 17 These are the main reasons why I chose to whose focus was to attain true academia prestigious ensemble. There was a time when accept an offer in Perth, Australia, and take the through performance alone. the members of an orchestral section were position of Head of Strings at the Western The modern world, however, seems to want mostly from the same studio class and used the Australian Academy for Performing Arts at to measure everything for administrative same style of musical playing. But today, young Edith Cowan University. Here I found the place purposes, which means placing art and artists performers come from all over the world, are of where I could develop a strong string depart- in a matrix closer to science and engineering. I widely different ages, and have diverse cultural ment based on the high-level teaching that I must admit that the encouragement to present backgrounds. An audition has become an had received, and this time in a modern and ideas at conferences and talks, like the one I extremely sharp competition of skill, for which creative context. At WAAPA my students rub gave last year at TEDx, has allowed me to some educational cultures prepare young peo- shoulders with ballet dancers, actors, musicians realize the usefulness of writing a thesis, be it ple better than others. It is therefore to be specializing in jazz, classical and electronic for a master’s or a doctorate. This process could hoped that the system in which we operate will music, and sculptors and painters. In short, the serve as an additional tool to sharpen my sense become flexible enough to adapt to the current campus is an island of creation where students of communication and clarify my vision. We realities of the industry. all share and exchange their various visions. A will see where this effort leads me, but for the By good fortune I did my studies under two moment I see only positive outcomes and the completely different systems, namely the possibility of raising my level of expertise. European conservatory system focused mainly on I will always try to offer to my students the mastery of the instrument and the Anglo-Saxon most complete range of musical knowledge university system emphasizing general and spe- and information, and I will always continue to cific knowledge and research. The best of both believe that the greatest form of music educa- worlds probably lies between these two philo- tion goes beyond rules, guidance and sophical systems, and many institutions now offer parameters. Educators must share an artistic different ways of amalgamating the two visions. vision and passion as applied in real profes- My experience as a student and educator sional situations. True inspiration can change prompted me to want to develop my own the lives of many young people who want to string program, and in collaboration with a PHOTO : KATHY WHEATLEY make music; it will be one of the main university that wished to build a serious and wellsprings of their achievement during their solid department. I remember wanting to mini-Paris of our modern time, in a place where journey. Studying with an active teacher and make the jump ten years ago, from a career life is good and where geographical isolation performer, who leads a professional career as totally focused on solo concerts to a profes- rouses people to surpass themselves. a high-level artist, is probably what most sional life shared between teaching and solo It is an ideal “terroir” on which to develop motivates the musicians of tomorrow. activities. Having lived in Europe for fourteen my project, achieve the right mix of teaching Unlike other professions, music is not based years, I knew I was in love with that systems, and perfect the tools to achieve my only on the study of concrete formulas and continent, but I also knew that my ambitions ambitions. My relationship with WAAPA is ideas. We must also open our minds, as an educator could not necessarily be ful- also bidirectional: every day within this understand the emotional states of the filled under the European system of admin- system pushes me to reinvent myself as a composers whose music we play, understand istration, in countries such as France, Spain university faculty member. I’m not just a ourselves and reinvent ourselves constantly, and even Germany. I needed to be able to ac- violin teacher; I’m also a colleague, a re- and plunge into our deepest emotions in order cess a freer Anglo-Saxon university environ- searcher, and one of the university masons. I to convey the essence within the music. Let us ment, but one that would also encourage the am even a student myself, since I am pursu- transcend our instruments, let us embrace uncompromising mastery of an instrument. ing doctoral studies (PhD), an endeavour that music as an impulse for approaching more I searched for a relatively long time before brings me to write about my vision. closely the meaning of life itself. LSM realizing that one of the only places, and It is somehow a complex intellectual probably the best place, to develop my career process. Let it be known that I have always Juno Award winner Alexandre Da Costa is Head of as an educator — in a decision-making position been reluctant about obtaining a doctoral Strings and Associate Professor at the Edith Cowan where I could be a leader from the start — degree while being an active musician. Being University (Western Australian Academy Of Performing would be Australia. This country, although very a performer and an academic somehow did Arts), Artistic Director of the Festival International distant from a geographical point of view, is not feel compatible. Indeed, I have met hun- Hautes-Laurentides and Artistic Director of Acacia extremely close to Canada in its philosophy and dreds of highly educated conductors who Classics Productions. An acclaimed violin soloist, he politics, and even close to Quebec in having two speak half a dozen languages, easily discuss all records for both Sony Classical and Spectra Musique. contrasting cultures, that of the “new world” facets of conducting, writing and music He plays the “Deveault” Stradivarius of 1701, on loan and that of Europe. Indeed, Australia is a hybrid history: musicians whose careers and publi- from his friends Guy and Maryse Deveault. of the British and American models just as cations should have been widely recognized as Quebecers are torn between emulating France the equivalent to a doctorate of some sort, but and the US.

for everyone. From “super purist” to atypical mu- considered an expert on Rap and R’n’B video lend it to me over a 10-year period. It’s really sical collaborations, everything will be there! clips, and he never thought of doing anything wonderful to know that I have a decade to evolve with classical music. He rose to the challenge in with the same instrument and that it will mark LSM: Does your marketing plan include a great way, and the result is really refreshing. a part of my life as an artist, probably the most appearance in non-traditional media? This is the kind of clip that we like to see and see important part. To know that this loan is a ges- Yes, we just recorded an amazing music video again and that makes us smile! ture coming from friends is also very special. My with a REMSTAR grant and I was able to choose wife and I have a very close friendship relation- my own director. I had heard an interview with LSM: You are now playing on a ship with the owners, Guy and Maryse [De- Catherine Perrin and the director Carlos Guerra, Stradivarius 1701, tell us about this loan. veault], and we feel a strong enthusiasm around and I found his career reall interesting. I I was lucky to receive a great gift a few months our projects and ambitions. LSM contacted him, he liked what I had to offer ago: friends have graciously agreed to buy one of artistically, and we made the clip. Carlos is the most beautiful violins on the planet and to www.alexandredacosta.com NOVEMBER 2017 19 sm23-3_EN_p20_Four_Canadian_Mezzos copy_sm21-7_pXX 2017-11-01 1:57 AM Page 20 FAMOUS CANADIAN MEZZOS & CONTRALTOS by PIERRE CHÉNIER

e cannot speak of our mezzo-sopranos Lemieux’s disc of quick and clipped and require full expression. and contraltos without starting with French opera arias, It is customary in bel canto to reveal the Maureen Forrester, considered to with Fabien Gabel tension in a dramatic situation by vocal be one of the 20th century’s greatest conducting, shows a acrobatics. Forst mastered this technique of contraltos. Born in 1930 in Montreal well-rounded voice, dramatic expression early on, not an easy feat andW deceased in 2010 in Toronto, she starred supple, agile and in the mezzo-soprano range. on the world’s most famous stages. She was gentle in the high well known to the Canadian public, since there range, effortless. She My fourth choice is Catherine Robbin, was once a time when our national radio and projects a high degree born 1950 in Toronto, a mezzo-soprano whose television paid attention to our classical of refinement, a name and art are linked to performances of artists. As the story melodic-dramatic baroque music on period instruments, which goes, she first met : DENIS-ROUVEPHOTO quality in which reached a peak dur- Bruno Walter in expression is mostly ing the 1970s. It

PHOTO : AP : PHOTO 1956, launching be- created by phrasing and attention to dynamic was not only a mat- tween the lyrical nuances. Her “letter scene” from Massenet’s ter of being able to artist and the con- Werther is noble and dramatic; everything is handle the ductor one of the nuanced with no sharpness. instruments, but century’s most fa- Lemieux’s career is rising as she is offered also one of aesthet- mous relationships. more and more roles, particularly the great ics and personali- Maureen For- Verdi roles such as Azucena in Il Trovatore ties. Performers rester’s voice was a and Ulrica in A Masked Ball, both of which had to be capable of rare phenomenon, a contralto with a rich tone, draw on her deep notes and require a strong giving over their a powerfully rich middle register, and a vi- dramatic presence. musicality to per- brato that always demanded control to keep formances that the voice harmonious and expressive through- Judith Forst, born 1943 in New West- encouraged rhyth- out its range. An outstanding example of her minster, British Columbia, is of a special type mic liveliness, short voice and sensitivity is her 1970 live perform- of opera singer — the Italian lyrical bel canto tones with little vibrato in strings, and con- ance of Mahler’s Das Lied von der Erde with mezzo-soprano who prefers to sing coloratura trolled vibrato voices. tenor Jon Vickers, conducted by William from the first half of the 19th century. Of Robbin gave her voice to this genre. She is Steinberg. (It’s available on YouTube). She course she has sung famous for her collaboration with such sings with an unmatched power and majesty many other types of eminent orchestra conductors as John Eliot while paying great attention to the text. music, from Bizet and Gardiner, Christopher Hogwood and Trevor Forrester had the deep voice and grandeur Verdi to Poulenc and Pinnock. She sang the deep female voice in of the contralto, a voice that seems to come Janáček. She even Gardiner’s recording of Handel’s Messiah, from the earth, yet can give itself over to sang Elvira in considered to be the epitome of early music humour and high dramatics, as in her rendi- Mozart’s Don Gio- performance of this great work. Her voice has tion of the countess in Tchaikovsky’s Queen of vanni, a soprano role, such resonance that she has also sung 19th Spades. She was a celebrated performer of which showed her and 20th century music with success, notably Bach, Handel, Brahms, Mahler and several ease in the high range in her remarkable performances of Berlioz, as others, and she sang the works of such and in high dramatic well as recordings of Brahms and Elgar. contemporary Canadian composers as Oskar D’ARTISTE PHOTO passages. As critics have long appreciated, Robbin’s Morawetz and Srul Irving Glick. Forst’s most memorable performance was voice conveys intimacy and delicacy of style. at the Metropolitan Opera. It was enhanced by She sings with a warm tone and a lovely even- The career of Marie-Nicole Lemieux, born her relationship with the great soprano Joan ness across her wide range. She does not 1975 in Dolbeau-Mistassini in the Lac-Saint-Jean Sutherland, of which we have a memory on emphasize chest voice in low passages nor region, has continued to evolve. The catalyst for film of Donizetti’s Anna Bolena. Indeed, it was does she prolong the melodic line. Thus it is her international career was her first prize at the her success at the Metropolitan Opera’s the elegance of her phrasing which brings 2000 Queen Elisabeth Competition for interna- National Council Auditions in 1968 that about emotion, rendered in complete tional music in Belgium, doubled by the Special launched her career in that opera house. partnership with the orchestra. There is less Lied Prize. Since then, she has appeared on many She has specialized in the type of Italian bel the sense of a great soloist with an orchestral of the world’s great opera stages and famous canto, from Rossini to Donizetti, that background than a symbiosis of voice and concert halls. From a contralto voice, especially demands a very wide range from a mezzo. She instrument. in baroque music, her voice has evolved, becom- has had to manage both its long melodic and TRANSLATED BY KARINE POZNANSKI ing almost mezzo. It is notably quite comfortable melancholic phrases, in which the voice is in French music, both melodies and operas. stark, and the coloratura vocalizations that are 20 NOVEMBER 2017 sm23-3_EN_p21_Julie_Boulianne_sm21-7_pXX 2017-11-01 1:55 AM Page 21

JULIE BOULIANNE A HOMECOMING FOR CINDERELLA

by CHARLES GEYER

orn at Lac-Saint-Jean in northern Que- “If you don’t give a meaning to a coloratura dramaturgic approaches to Rossini’s opera, bec, mezzo-soprano Julie Boulianne has passage,” Boulianne explains, “it just becomes including those verging on the tragic. forged an acclaimed international opera boring. Look at the duets between Prince “I did a version where Cenerentola dies,” Bcareer. This month she returns to her Ramiro and Cenerentola. The two are very Boulianne recalls. “The whole final aria was operatic “home”, Opéra de Montréal, for attracted to each other, but they’re each very about her death. That was in Limoges.” her first Quebec performances of a favourite shy. So there are flights — élans — as the voice Is it fair, then, to assume that with first role — the lead in Rossini’s Cinderella opera, goes high in excitement, then comes back rehearsal pending, Boulianne isn’t yet sure La Cenerentola. Interviewed on the eve of the down, too shy to follow through. You have to which direction maestro José Miguel Pérez- production’s first rehearsal, Boulianne is find those contrasts.” Sierra and director Joan Font may ask her to palpably buoyed by anticipation. Boulianne goes on to explicate the role’s take the role this time? “It’s very exciting,” she says. “It’s a role I’ve macroscopic structure. “Rossini gave the role “Absolutely,” Boulianne concedes, then adds, loved, and finally I get to do it at home. I think a special shape. In the ensembles, everyone with a twinkle, “but I have, as we say in French, of it as a big gift.” around Cenerentola is screaming. Nobody plusieurs cordes á mon arc — many strings to The excitement also carries certain responsi- cares what she is saying. That’s how the music my bow. I come with a lot of ideas.” bilities. In February, Boulianne received an Opus is written. But when she really decides to fight Boulianne’s intellectual precocity, analytic Prize, making her an official “ambassador” of — when she wants to go to the ball — the skills, and willingness to experiment are Quebec musical culture — an obligation she takes music is ‘shinier.’ If you follow the musical illuminated by the discovery that she pursued seriously. “Quebec has extraordinary people path, the whole arc, you see an emancipation science in college before committing to a career doing extraordinary things in music,” she says. of the character. She deploys her wings, until in music. “I have a strong belief that music and “It’s important to let that be known, and encour- at the end she’s completely free.” science are really close,” she says. “Two things age these artists to shine everywhere.” Another challenging dramatic crux comes that require a lot of focus, concentration. If Much as Boulianne has shone, receiving with the eleventh-hour forgiveness that you’re going to play a concerto, you need to be worldwide plaudits in repertory by Mozart and Cenerentola metes out to her stepfather and focused. It’s the same with science: you need to Rossini, as well as contemporary work. “I just stepsisters, who have abused her for years. concentrate and be in the moment.” finished a production of Pinocchio by Philippe How does the artist make sense of such Opéra de Montréal artistic director Michel Boesmans,” she says. “A world premiere, and seemingly superhuman charity? Beaulac has said the upcoming production a big success. I was a drunk cabaret singer in “Well, to me it makes complete sense,” boasts “an ideal cast.” Boulianne agrees. “It’s a the first part, and a little boy — the ‘Bad Boulianne offers. “I don’t think she does it for very high-level cast! I’m very happy.” Then, Student’ — in the second part.” It may seem a them. She does it for herself. Forgiveness is with recourse to a bit of scientific argot, she re- stretch for an artist known for discipline, hard the most powerful thing, the only thing that marks that “I’ve done Cenerentola with [tenor] work and erudition. will make you really happy. It may be a little Juan José de Léon before, so we already have “It was fun!” Boulianne says. “I love doing bit égoïste — selfish — but there’s a point in the chemistry.” ‘mean’ characters. I think they’re more life when you have to let go. Forgiveness is For Boulianne, one poignancy shades the interesting, with more complicated minds.” what makes her free.” joy of this Cenerentola. “My schedule for the Which brings back the subject of Ceneren- Boulianne has had occasion to play another next year is much more romantic French tola, in particular the prospective pitfalls of operatic version of the Cinderella story, repertoire — Werther and Les contes d’Hoff- the lead character in an opera subtitled Massenet’s Cendrillon, and is asked to mann and La damnation de Faust. So this is “Goodness Triumphant.” compare the experiences. not only a homecoming, it may also be the last “Well, all the characters are funny,” “The Massenet,” she says, “is a different time I do this role.” Boulianne says, “and I think Cenerentola has journey, a different universe. It’s definitely She pauses, then continues zestfully: “So I’m the potential to be funny, too. I love making more romantic and more dramatic. At one looking forward to tomorrow’s first rehearsal. her a little clumsy, a little maladroit.” point, she wants to commit suicide! There’s less I’m going to try to enjoy every moment!” LSM Belying any clumsiness, however, the role place in the Massenet for fun. The funny parts also features some of the most devilishly really belong to the stepmother and sisters.” La Cenerentola will be performed at Opéra de Mon- demanding and relentless coloratura in the Still, Boulianne — a highly adaptive and tréal. November 11, 14, 16 and 18, 7:30 pm. literature. How does Boulianne approach that? imaginative artist — has explored a range of www.operademontreal.com NOVEMBER 2017 21 sm23-3_EN_p22-23_Eva_Gauthier copy_sm21-7_pXX 2017-11-01 1:56 AM Page 22

ÉVA GAUTHIER (1885-1958) PIONEER OF 20TH CENTURY MUSIC (PART I) NADIA TURBIDE

If I look back on what they now call joined her fiancé Frans Knoote, a Dutch im- performers leaving Europe, and both groups “the roaring Twenties”, it is like look- porter in Java, and soon became a recital competed with their local colleagues for limited ing at a rich tapestry of almost blind- singer known throughout Southeast Asia. concert engagements. With the encouragement ing color. So much happened in those The tiny Gauthier — four feet, ten inches tall of the music publisher Rudolph Schirmer and years which were marked by abun- — not only braved floods, famine and political the American composer John Alden Carpenter, dant prosperity in America and a upheaval during her concert tours, but may Gauthier, dressed in spectacular native batik have had the singular distinction of being the dresses, introduced her Javanese repertoire to cultural liveliness which was breath- first Western classically trained female singer American audiences. In the fall of 1915, she taking. Music of our time all of a sud- to study with a Javanese gamelan ensemble. joined many of her colleagues in doing vaude- den became a matter of interest, and When World War I was declared in August ville, bringing her successful Javanese act to the everybody felt like jumping on the 1914, she was on a concert tour in New stage. With the collaboration of a classical Zealand with the violinist Mischa Elman. The dancer professionally known as Nila Devi or bandwagon. two artists, together with the pianist Harold Blue Goddess, and the assistance of four other Bauer and the French-Canadian tenor Paul young women, Gauthier devised a singing and o wrote Canadian mezzo-soprano Eva Dufault, succeeded in obtaining passage on dancing programme entitled “Songmotion”, Gauthier, an artist ideally suited to a the last ship leaving Sydney, Australia for the which was staged with a Javanese temple as periodthat invariably attracted the safer shores of America. background. sophisticated, the exotic, the adventur- On her arrival in New York in October 1914, By 1917 Gauthier was preparing for a new ous and the new. She had already sung at the age of 29, Eva Gauthier was confronted type of career, one which would establish her SSatie’s music-hall tunes, was familiar with with the formidable challenge of establishing a as a unique interpreter of modern music on works of Eastern inspiration, and collected the career in a city already beset with the unrest of the New York musical scene. She later stated, novelties of Europe. In the early 1920s she the European conflict. American artists “It was actually a serious study of all Oriental provoked a heated artistic debate in New York returned home from abroad alongside foreign music that enabled me to understand and by daring to bring sophisticated jazz into the master the contemporary or so called modern sanctity of the recital hall, with the assistance music.” On another occasion, she noted that of George Gershwin who was making his first “I would never have attempted this had I not appearance on the concert stage. With the received a thorough grounding in the classics.” momentum and notoriety obtained from this On November 1, 1917, Gauthier gave a bold move, Eva Gauthier maintained a highly recital at Aeolian Hall in New York, which eventful career throughout the 1920s and included the North American premiere of thereafter was assured of a place in history. Stravinsky’s Three Japanese Lyrics for voice How had this Ottawa-born singer acquired and chamber ensemble. Ravel’s Trois Chan- the wherewithal to make a niche for herself in sons and Rimsky-Korsakov’s “Salut à toi de Gotham? As one of Gauthier’s accompanists l’Orient” from Coq d’Or, as well as the first candidly observed, writing to her from Ottawa performance of Charles Griffes’ Five Poems of while on a concert tour, “I realized that you Ancient China and Japan with the composer belong here no more than Tallulah Bankhead, at the piano. Her recital was favourably Stravinsky or Benedetto Croce.” reviewed in ten New York newspapers, two Eva Gauthier had actually left her native Boston dailies, and three periodicals. Since the city in 1902 at the age of 16 to study voice in performance of new music in New York was Paris, London and Milan for seven years at a low ebb, the combination of Gauthier’s under the patronage of Lady Laurier and Lord personality, artistry and musical curiosity led Strathcona. In London she became the pro- to the eager anticipation of her recitals. Even tégé of her compatriot Emma Albani, who en- critics of the old guard responded favourably gaged Gauthier for this diva’s Farewell Tour to her performances, if not to all the new of Canada in 1906. Following her operatic composers’ works. debut in the role of Micaela (Carmen) in Pavia At the dawn of the 1920s, Gauthier earned in 1909, Gauthier decided to establish her At age 21, Eva Gauthier was headed for a seemingly con- the title of “High Priestess of Modern Song”, career in Europe. When theatrical intrigues ventional career in London, England where this photo was bestowed on her by the American composer- taken. But instead of fulfilling her Covent Garden contract, barred her from fulfilling her contract at she found her audiences in faraway Java ... and the rest be- writer Walter A. Kramer following one of her Covent Garden the next year, however, she came history. recitals. He further noted that: 22 NOVEMBER 2017 sm23-3_EN_p22-23_Eva_Gauthier copy_sm21-7_pXX 2017-11-01 1:56 AM Page 23

forever the Schubert, lar table to work on. At Schumann and Brahms one end were serious songs, lovely as they may books she wanted to be. Our present-day read; at the other end, musicians must be detective stories; in front encouraged to give us of her whatever she was what they have, so that working on. our own period shall not be sterile — so that music Gauthier’s venture into the world of shall not stand still. contemporary vocal music was welcomed even A confident Eva Gauthier (seated), ready to take on the by the leading critics of Boston. H.T. Parker, music world, is surrounded by the Laurier family — Sir In time Gauthier became the foremost the austere critic of the Boston Evening Tran- Wifrid Laurier standing behind her and her patroness Lady interpreter of modern vocal music in New script, remarked that “As a signal interpreter Laurier to the far left. York; she was especially known for her inter- of the moderns and ultra-moderns, she is to pretation of French music. Even before the song what Miss [Mary] Garden is to opera.” You hear her and sit 1920s, the French conductor Pierre Monteux The 1920s witnessed the emergence of a spellbound in the glory of had written to her that he considered her the number of musical societies in New York that her modernity of concep- greatest champion of French music in promoted modern music. Eva Gauthier was tion, presentation and America. Composers and publishers sent their one of the few singers regularly engaged by superb mastery of her most recent works to her, and she was long a these societies. The only work she declined to material. She makes you noted member of the avant-garde artistic com- perform after having studied the score was forget that she is a singer, munity. Schoenberg’s Pierrot Lunaire. In the fall of which in itself is quite a In 1920, the elegant Boston painter John 1922, Edgard Varèse’s International relief. Her unique person- Singer Sargent, attracted by Gauthier’s Composers’ Guild had invited her to partici- ality fascinates. Javanese appearance and bearing, drew two pate in the North American premiere of the charcoal portraits of the singer. Gauthier later work, but she wrote to Carl Engel, a close EVA GAUTHIER WAS READY wrote, “Whilst I was posing he often accom- friend and colleague, that studying such a FOR THE JAZZ AGE. panied me on the piano ... in Fauré songs.” work from a miniature score was highly In 1920, at the age of 34, Gauthier returned Gauthier also met another well-known difficult, and she felt a certain antipathy for to Paris after a decade that had dramatically Bostonian, the cigar-smoking poet Amy the work which was “neither this nor that”. transformed it, from the traditional 19th-cen- Lowell, who often sponsored séances of Discrimination against modern music was tury environment she had known as a young modern music in her home. Gauthier recalled standard in the press, and when the Guild sent student to an exciting though turbulent post- that on her visits to Sevenels, Lowell’s an article on Schoenberg’s work to the Musical war city. She had agreed to act as a courier for ancestral manor: Courier, it was published with the following the president of the Music League of America, Miss Lowell slept all warning, “The Musical Courier assumes no a major concert agency, who wished to offer day and worked at night responsibility for the evident enthusiasm of Maurice Ravel a North American tour of 25 ... She’d have breakfast, the writer.” After hearing Greta Torpardi in concerts. Although Ravel declined the offer, and we’d have tea with the Sprechstimme role on February 4, 1923, Gauthier’s meeting with the composer, with her on the top floor of the Gauthier admitted that she had been wrong in whom she became friends, provided her with house, with all the win- having tried to sing the work rather than to an introduction to “le tout Paris musical”. dows open. She couldn’t speak it, in what she referred to as the “Sarah She met Satie and attended a performance stand hot air, but we’d Bernhardt fashion”. of Socrate, then joined “Les Six” at one of their freeze to death! ... At regular Saturday night gatherings. When she midnight her guests left Nadia Turbide, a musicologist in Montreal, is currently later heard Milhaud’s Le Boeuf sur le toit in and she went to work. writing a biography of Eva Gauthier. This article was London, she exclaimed, “American jazz is pink She was an enormously originally published in the October 1985 issue tea to that stuff.” Although Henri Sauguet, a fat woman and had a of Music Magazine. disciple of Satie, only arrived in Paris in 1922 specially built semi-circu- at the age of 20, he recalled that “Eva Gauthier was then a celebrated singer who sang in both the classics and the moderns ... I know that she was greatly loved by those around me.” Gauthier was later accompanied by Germaine Tailleferre on the harpsichord at an Aeolian concert in 1926 and was to remain in contact with Francis Poulenc for over 30 years. When Eva Gauthier returned to America in the late summer of 1920, she brought back a trunkful of new vocal compositions. At one of her frequent interviews in the musical press, she emphatically referred to one of the artistic principles that she defended throughout her life: People who are dead do not need our help any longer. If a composer cannot hear his work produced, he loses the “If a composer cannot hear his works produced, he loses the incentive to write. It is futile, anyway, to repeat forever the incentive to write. It is Schubert, Schumann and Brahms songs, lovely as they may be,” said Eva Gauthier. She resolutely backed her contemporaries, futile, anyway, to repeat including the jazzy repertoire of Gershwin. In this 1928 group she is seated with Ravel; Gershwin is standing on the far right. NOVEMBER 2017 23 sm23-3_EN_p24_MCO_Messiah2 copy_sm21-7_pXX 2017-11-01 12:17 AM Page 24

A NEW TAKE ON HANDEL’SMESSIAH by WAH KEUNG CHAN

ver wondered how Handel only needed McGill Chamber’s artistic director Boris St. Paul’s there are no pillars to disturb sight 24 days to compose the celebrated Brott is happy to present both a traditional lines, yet it is very intimate, only 800 seats as oratorio Messiah, which has become a performance of Messiah followed the next day opposed to Maison Symphonique which seats Christmas tradition world-wide? It turns by the narrative version. “I am fascinated by almost 2,000. Its stained-glass windows and out that the then 56-year-old Handel was Pierre Audet’s dramatization of the circum- live acoustics offer the perfect ambiance.” Eon the verge of bankruptcy, which may have stances surrounding the writing of Messiah. I spurred him on, despite the fact that he was find the combination of the theatrical text DANIEL TAYLOR’S RETURN ill from a stroke at the time. This back story presented in French with the musical libretto Brott is particularly looking forward to was dramatized by marketer Pierre Audet in sung in its original English to be particularly working with the professional choir prepared The Brilliant Resurrection of Mr. Handel, a relevant to Montreal audiences. You will find by Jean-Sébastien Vallée and the return of musical narrative on the creation of Messiah. this version vital and will want to attend both countertenor Daniel Taylor, who has sung Its successful premiere in spring 2011 by the versions to better understand how Handel over 400 performances of Messiah around the Chœur Radio Ville-Marie has inspired a came to write this amazing work in just one world. “Daniel was a regular soloist in the second staging, this time by the McGill month. The words give an entirely new MCO’s Messiah for 25 years. When he was just Chamber Orchestra (MCO) and Boris Brott, at meaning to Charles Jennens’s text. It is out of his teens I engaged him to perform this the large St. Jean Baptiste Church. transformational.” part when I was Guest Conductor of the Dallas Audet tells the story through the eyes of Symphony. It is not normal to applaud Handel’s servant, Peter le Blond (played by A HOLIDAY TRADITION between movements, but the audience was so Luc Guérin), who has remained faithful to his For Brott, Messiah is one of those seminal overcome by his ‘He Was Despised’ that they master despite not having been paid in a works which should be celebrated annually.

BORIS BROTT. PIERRE AUDET. PHOTO: HÉLÈNE BRUNET. DANIEL TAYLOR ISAIAH BELL. PHOTO: JOEL ALLISON LUC GUÉRIN. PHOTO: PHOTO: BH2 COLOMBINE DROUIN PHOTO: GILLES BRUNET BRENT CALIS PHOTO MONIQUE RICHARD

while, protecting him against his numerous “We have performed it each Christmas for over rose to their feet and gave him a standing creditors. One day, Handel’s occasional 30 years. Similar to Beethoven’s Ninth ovation. I expect no less this time!” librettist Charles Jennens appears with a new Symphony or Mahler’s Resurrection, there is “Messiah has always held a very important text based on biblical texts mostly from the always something new to say interpretatively place in my heart since my first solos in the book of Isaiah (the exile of the Jews) and the and which resonates with an audience.” work under Gerald Wheeler and Boris Brott at New Testament, and wants Handel to lend his That the concert is sold out every year is a Christ Church Cathedral some 30 years ago,” creativity. mark of its popular appreciation. “It is a work says Taylor. “I value my long friendship with Interspersed with dialogue and music, the that for many Christians signifies that it really both of these fine musicians, and my - musical narrative presents a new way of is Christmas. For many it is a holy experience so association with Boris Brott has taken me to looking at Messiah. “I acted as though the different from the commercialism of Yuletide. halls all over the world. Even now, we are music didn’t exist, at least not yet,” says Audet. Devout people and even those who do not discussing dates for our next Messiah! There is “I followed the path of the texts, imagining the attend church regularly often attend as an act a sense of coming together during our concerts ways in which Handel discovers them and sets of devotion, a moment of solemn reflection at here in Montreal, of our singing as one to them to music. This process — breaking the the darkest time of the year. An acknowledge- strengthen our sense of community and to usual order of the pieces in Messiah — made it ment that Christ, the Light of the World, was celebrate this music. While artistic expression possible to create an entirely new sequence, born at this darkest time as a symbol of hope and goodwill may be more important today one which tells of the resilience of a man in the and renewal. For non-believers, it is a work of than they have ever been, even more truly effervescence of creation.” intense beauty and contrasts, superbly written valuable are the people who understand what Public reaction was enthusiastic. “It’s very for solo voices and chorus. It is an inspiring it actually is.” LSM rare for the music-going public to be offered a work regardless of faith. I know many Jews, glimpse of the writing process and to under- annual subscribers, who hear it for the first time The McGill Chamber Orchestra performs Handel’s stand the steps by which a masterpiece comes because it is part of their subscription. They Messiah, November 30, 7:30 pm, Church of St. into being,” wrote musicologist Marie-Thérèse comment on its musical beauty and that they Andrew and St. Paul, Montreal. Handel’s Messiah with Lefebvre. “The play renews our appreciation are inspired by the setting of the text, in much musical narrative on Messiah’s creation (French only), by connecting each musical piece to a painful the same way as the Verdi Requiem.” December 1, 7:30 pm, St. John Baptiste Church, and vital event in the life of our hero,” wrote For Brott, Messiah is a work that requires Montreal. www.orchestre.ca music critic George Nicholson. the ambiance of a church. “At St. Andrew and 24 NOVEMBER 2017 sm23-3_EN_p25_Flamenco_sm21-7_pXX 2017-10-31 9:18 PM Page 25

DISCOVER AUTHENTIC FLAMENCO! PHOTO: LEVENT ERUTKU PHOTO: HERVÉ LEBLAY by OLIVIER DELAIRE lamenco is a fascinating world of Toronto and Montreal, where he settled last On December 2nd Remembranzas (Sou- melodies and dances full of passion and December. venirs) will be presented at the amphitheater fire that warms our hearts.Caroline He has worked with major flamenco com- Le Gesù at 8 pm. In this show, Fernando and F Planté and Fernando Gallego “El panies, including Rosanne Dion in Montreal. Caroline tell us of their beginnings in music. Bancalero”, two emblematic figures of On November 26, A Dia Cualquiera (Just Rumba occupies a particularly important place flamenco in Montreal, offer us two shows, Un another day) will be presented at the Rialto in their lives. Fernando learned and started dia cualquiera and Remembranzas. Theater at 7:30 pm. This show, based on an singing with rumba. This show will also be a The guitarist Caroline Planté is from Mon- original idea by Fernando, aims to transport kind of walk through his career. For Caroline, treal. She began to learn guitar at the age of 7 the audience to a real “peña flamenca.” The the show brings her back to her childhood: “My with her father Marcel Planté “El Rubio » as a most important Montreal-based performers, father was an incredible rumbero. “ teacher, he transmitted her the art of accom- dancers and flamenco musicians will be on On a more personal level, we will hear in the panying dance and singing and his passion for stage. first part tangos, Alegría (typical of Cadiz, usu- flamenco music. It is with him also that she The “peña flamenca” is an informal gather- ally more cheeky), two colas, En el ultimo makes her first shows. Winner of several pres- ing, in a place (It can be any place) where the minuto and Cai (Spanish songs sung in the fla- tigious scholarships, she will improve in Spain musicians and dancers decide to play, sing menco manner, that his mother sang when (Madrid, Seville) where she stayed for nine and dance in a free and spontaneous way. In during his childhood). In the second part, Yo years. Caroline has been the assistant and this program we will hear: Rueda de coplas, te digo cantando (a rumba from the 1970s), artistic director of the Flamenco Festival in Buleria por Solea, Alegria (with dance), Tien- Los tres bandoleros (song on a poem by Gar- Montreal since 2012. tos, Tangos, Fandangos, Marianas y Tangos cia Lorca), Déjame en paz (Bambino song,) The singer Fernando Gallego is from Cadiz, and Tanguillos in the first part and, in the sec- and Cuando muera (bolero).. LSM He began his career at the age of nine. Over a ond part, Seguidillas al Golpe, Cantinas, Tien- long and prestigious career, “El Bancalero” tos ( dance), Rumbas, Fandangos Naturales www.theatrerialto.ca | www.legesu.com has collaborated on many shows and with fes- (all singers) and Fin de Fiesta. TRANSLATED BY ADRIAN RODRIGUEZ tivals (both in Europe and Canada), including

Wah Wing Chan & Claude Arseneault TRACES EXPOSITION November 2 to November 25, 2017 Vernissage, Thursday, November 2, 5:30 pm Warren G Flowers Art Gallery 4001 de Maisonneuve Blvd. West, Montreal

OPENING HOURS: Monday – Friday: 9 am to 9 pm | Saturday: 9 am to 5 pm | Sunday: closed

NOVEMBER 2017 25 sm23-3_EN_p26-27_Collegium_Bach_Fest_Oratoire2_web_sm21-7_pXX 2017-11-07 6:23 PM Page 26

daring in the truest sense of the word, modern, incredibly passionate and sensuous nearly to the point of ecstasy,’’ says Luks. “In a unique manner, Zelenka combines the Italian tradition of vocal music with the German feeling for counterpoint. He is sometimes called the Czech Bach, but such a comparison is totally misleading. Zelenka’s music is absolutely grounded in the Italian Catholic tradition, whereas Bach’s is in the German Lutheran aesthetic, naturally.” Collegium 1704 has constantly expanded its repertoire from Bach and Zelenka to include music from Monteverdi through to early Romanticism. In recent years the ensemble has also focused on the operatic repertoire. It has enjoyed several successes, including Handel’s Rinaldo, directed by Louise Moaty PHOTO : PETRA HAJSKA in 2009. Luks finds opera to be an “increas- ingly enticing” new field for his ensemble. He is currently planning an international co- production of Mozart’s Don Giovanni. Collegium 1704 operates as an independent ensemble, or what North Americans call a freelance group. Luks says, “There are a COLLEGIUM 1704 number of disadvantages as well as some advantages that go with that. By its nature, our A SMALL ENSEMBLE TO SING work is far more varied and changeable than that of a traditional orchestra, in which the GREAT CHORAL WORKS musicians have full-time contracts and are by XENIA HANUSIAK ‘employees’. So it’s not just that we play an incredibly diverse range of music from the late Renaissance to early Romanticism, but also hen the Prague-based orchestra and at Europe’s leading festivals and concert that our work is similar to a path of discovery. vocal ensemble Collegium 1704 opens venues, including the Salzburger Festspiele, Maybe that’s why this music attracts artists who the Bach Festival of Montreal with Berliner Philharmonie, Theater an der Wien don’t want to fall into a routine and who have a WBach’s Mass in B Minor on November and Konzerthaus (Vienna), Concertgebouw desire to discover the new and the unknown. So 17, its founder and artistic director (Amsterdam), Wigmore Hall (London) and they don’t hesitate to sacrifice their personal Václav Luks believes that audiences should the Lucerne Festival. It has also held presti- comfort and their standard of living.” expect something different. Luks says that gious residences at the Utrecht Early Music The path of discovery will make itself felt as “listeners are accustomed to hearing perform- Festival and the Bachfest Leipzig. the 70-plus members of the instrumental ances of the B Minor Mass which are reflec- Collegium 1704’s presence at the Montreal ensemble, choir, and its ambitious conductor tions of the choral practice of the nineteenth Bach Festival represents the ensemble’s make their trip to Montreal. Of Montreal, and twentieth centuries. Bach wanted neither exclusive North American debut. Luks has Luks says, “I am aware of Montreal as one of a choir of a hundred voices nor one singer per already learned of what he describes as the the most beautiful and oldest cities of North part. Instead, his ideal was 2–4 singers per “extraordinary acoustics” of the Maison America. The city has a European feel, and part.” The vocal ensemble of Collegium 1704 symphonique. He says, “The orchestra has people speak French. And because ice hockey counts only 19 members. played the work many times both in concert is just as popular in my country as it is in Bach’s Mass in B Minor holds a special halls and churches, and I’m convinced not Canada, we Czechs also know that the city is reservation card in Collegium 1704’s history, only that Bach’s extraordinary qualities are the home of the Montreal Canadiens.” not only as one of the most often requested timeless, but also that their effectiveness is Luk’s invitation to music lovers to hear works in its repertoire. In 2013 the ensemble not bound to a particular place or context in Collegium 1704’s performance at the Bach produced a highly acclaimed recording of it. which it is heard.” Festival reflects his broad erudite vision: Audiofile’s Stephen Ritter wrote, “This is the The name Collegium 1704 and in particular “The power not only of Bach’s music, but most exciting version of the Mass I have ever the year 1704 are inspired by the symbolism of actually of any great artwork, rests in its heard.” Luks says that Collegium 1704’s inter- the Collegium’s heraldic composer, fellow effectiveness outside of its historical and pretation “presents the great work in colours national Jan Dismas Zelenka. In August 1704, social context. Just as a visitor admiring a that are different from what we are used to Prague’s Church of St. Nicholas witnessed the Baroque painting in a gallery or church need hearing in the German or British traditions. first performance of Zelenka’s Jesuit allegory, not understand every detail to be captivated In the B Minor Mass it is always possible to the musical play Via laureata. Since little is by the beauty of the picture, a listener discover something, and for me, every known of Zelenka’s previous life, the date of the hearing Bach’s Mass in B Minor need not performance is a new adventure.” event signifies Zelenka’s arrival on the musical understand counterpoint — or feel a Luks began his musical studies at the stage. For Luks, he stands as one of the most connection with the texts of the Missal Pilsen Conservatory in Prague, studying horn influential personalities of the 18th century. Ordinary as set to music — in order to be and harpsichord. He continued his career For the past several years the ensemble has deeply touched by the beauty of this music.” with specialized research at the Schola been devoting itself more intensely to LSM Cantorum Basiliensis in Switzerland and Zelenka’s œuvre. Luks affirms that the moti- established the Collegium in 2005. In its vation is not guided simply by homeland Collegium 1704 at the Montreal Bach Festival 2017, short 12-year history under his direction, the patriotism but by what he calls Zelenka’s November 17, 7:00 pm, Maison symphonique de much sought-after ensemble has performed “original” compositional style. “Absolutely Montréal. www.festivalbachmontreal.com 26 NOVEMBER 2017 sm23-3_EN_p26-27_Collegium_Bach_Fest_Oratoire2_sm21-7_pXX 2017-11-01 1:59 AM Page 27

MONTREAL BACH FESTIVAL 2017

AN EMOTIONAL CONNECTION TO THE SUBLIME by XENIA HANUSIAK ARSENAULT : PIERRE PHOTO

he Montreal Bach Festival opens on Notre-Dame; British pianist Nick van Bloss, the festival collaborates with Société Pro Musica November 17 at the Maison Symphonique noted for his poetic style, will perform the popu- and the Jeunesses Musicales Canada for the with a performance of Bach’s monumental lar Goldberg Variations. Much-in-demand Mélodînes@Festival Bach Montreal project. The TMass in B Minor by Collegium 1704, an German tenor Julius Prégardien will give two alliance will offer twelve lunchtime concerts of acclaimed early-music group based in concerts, and several of the world’s leading forty minutes duration. The concerts, all at Place Prague. The Mass summons a month of choirs, including Gramophone Award-winning des Arts, feature young Quebec musicians and performances devoted to Bach and his Vox Luminis and Ensemble Jacques Moderne, ensembles. Scheibler’s festival also celebrates the catalogue, his contemporaries, and his will offer choral programs that include recent and youngest-ever winner of the Canadian influence on the composers of our time. Monteverdi, Scarlatti and Schütz. International Organ Competition, 25-year old Collegium 1704’s Montreal appearance — the Scheibler received her doctorate from the American organist Alcée Chriss. As the laureate Canadian debut of this élite fifty-member choir University of Hamburg, focusing her disserta- of the competition’s Bach prize, Chriss will give and instrumental ensemble — is intended in tion on the masses of Leonard Bernstein. The a recital at Saint Joseph’s Oratory of Mount part as a celebration of the 500th anniversary of impetus to initiate a festival of Bach was Royal on November 26. the start of the Protestant Reformation. This seeded when she arrived in Montreal in 2003. As well as organizing the logistics and the artis- Canadian performance, which has been years in Growing up in Hamburg, Scheibler recalls that tic decisions behind this year’s festival, Scheibler the making, speaks to the tenacity of the festi- during every Christmas period she could is already programming the 2018 and 2019 festi- val’s founding Artistic Director, German-born choose from “at least thirty performances of vals — all in addition to juggling the demands of musicologist Dr. Alexandra Scheibler. Thanks Bach’s Christmas Oratorio.” In Montreal she securing private and corporate sponsors to to Scheibler’s tireless work, the festival has could not count one. This revelation began achieve her ambitions. However, Scheibler makes grown from its first iteration in 2005 with ten Scheibler’s personal crusade. She believes that certain that her Hamburg memories of Bach’s concerts to its presence today as an annual “Bach is the basis of music today.” She says, Christmas Oratorio are always fulfilled. The 25- festival offering over 30 concerts of every kind. “All the composers who succeeded Bach follow year-old Montreal-based Ensemble Caprice has In 2017, the festival program includes some of to some extent his compositional style and his the honour of performing Bach’s seasonally the most influential interpreters of Bach today. ability to pair emotional connection with inspired work on December 3 at the Church of Leipzig’s famous Boys Choir of the Church of St. mathematical technique. There is always a Saint-Jean-Baptiste. LSM Thomas, whose history dates back to 1212, connection to Bach.” returns after the success of their 2013 visit to give Scheibler is enthusiastic about bringing Bach’s www.festivalbachmontreal.com a prelude concert on November 8 at the Basilica “highest form of art” to a wide audience. In 2017 SAINT JOSEPH’S ORATORY 100TH ANNIVERSARY OF ITS CRYPT & ORGAN by HASSAN LAGHCHA

rary composer most currently played had 19 pipes. A restoration was carried out around the world, is full of praise for the in 1962 allowing the addition of sixteen new quality of the writing of the still active pipes and a third keyboard. Then in 1989, composer, which he describes as “very sober the instrument was completely renovated. A n November 21, in conjunction with and beautiful.” Boucher, winner of the 2002 pipe was added, the console was equipped the Montreal Bach Festival, Saint Prix d’Europe and the 2003 Opus Discovery with a new computerized system and the Joseph’s Oratory will present a concert of the Year award, emphasizes that the blower as well as leathers and other worn of Arvo Pärt’s Passion for Saint John crypt’s characteristic acoustics allows for parts were changed. to mark the 100th anniversary of its more introspective music to be played, as in The crypt of the oratory, with a capacity Ocrypt and Casavant organ opus 708, with the case of the Arvo Pärt piece, with which of 1,000 seated, was built in 1916 and the participation of the choir and instru- “we enter a kind of spiritual trance full of inaugurated in December 1917. At that time, mental ensemble of St. Andrew and St. bliss.” this was the first stage of the major project Paul’s Church, conducted by Jean- culminating in the construction of the basil- Sébastien Vallée, Vincent Boucher on organ THE ORGAN AND THE CRYPT ica on the mountainside. The building is and Gilles Cantagrel as a host. They will also Vincent Boucher, who was organist at neoclassical with a dominant “Italian perform Handel’s Organ Concerto in B flat Sainte-Cécile cathedral in Valleyfield from Renaissance” style. The church is called the major op. 4 no 2 and J S Bach’s Toccata 1996 to 2000, and now the Oratory’s crypt because of its vault supported by low and fugue in D minor. principal organist, says that the organ in the arches and its position at the foot of the “This Montreal premiere of Pärt’s Pas- crypt is “a bit like the Champlain Bridge,” basilica. www.saint-joseph.org LSM sion will, in a way, be a return to the past, to referring to its old age, “and we are thinking TRANSLATED BY ADRIAN RODRIGUEZ pay homage to all that has been achieved at of replacing it soon.” The organ was built in Saint Joseph’s Oratory,” says Boucher. This 1917 by Casavant and Frères, and originally great admirer of Arvo Pärt, the contempo- consisted of two keyboards and a pedal and NOVEMBER 2017 27 sm23-3_EN_p28_Brentano copy_sm21-7_pXX 2017-10-31 7:49 PM Page 28 QUATUOR BRENTANO A COLLABORATION OF INTENSE COHESION by RICHARD TODD

PHOTO : JURGEN FRANK

he 2012 film A Late Quartet is largely built Germany, Austria, and France. His solo ap- sion, which allowed the music to soar and sing around the preparation and performance pearances with several orchestras, London’s as if it were being performed for the first time.” of Beethoven’s Quartet in C-sharp minor, Philharmonia and the Los Angeles Philhar- Since 2014, the Brentano Quartet has Top. 131. The film has been praised on every monic among them, have been warmly re- served as Artists in Residence at Yale Univer- level — the acting in particular. The actors, ceived. A contemporary music advocate, sity and previously held a similar position at however, are not musicians! The actual sound Steinberg has worked closely with many com- Princeton. Their extensive discography in- of the movie’s fictional Fugue String Quartet posers and has performed with such 20th-cen- cludes both new music and old on such labels was provided, most effectively, by the tury music ensembles as the Guild of as Aeon and Naxos. Brentano String Quartet. Composers, the Da Capo Chamber Players, This season the quartet will perform in var- In the movie’s final scene the ensemble’s Speculum Musicae, and Continuum, with ious cities in New York State and, crossing the cellist (actor Christopher Walken) stops the which he has recorded and toured extensively Atlantic, will also appear in Paris, Berlin, Lon- performance and explains to the audience that in the US and Europe. don, Amsterdam and a half-dozen other Eu- he is no longer able to meet the music’s chal- Misha Amory won the 1991 Naumburg ropean cities. There will also be two concerts lenges. (He has Parkinson’s disease.) Antici- Viola Award and has been active as a soloist in Canada, the first in Montreal’s Théâtre pating that he might not be able to complete and chamber musician since then. His many Maisonneuve on December 4, then in Toronto the performance, he and his colleagues have prestigious performances include the Marl- on January 11 in the Jane Mallett Theatre of engaged a replacement, a cellist portrayed on boro Festival, the Seattle Chamber Music Fes- the St. Lawrence Centre for the Arts. screen by the Brentano’s real cellist, Nina Lee. tival, the Vancouver Festival, and the The Canadian programs promise to be par- When the musicians resume playing, Lee re- Chamber Music Society of Lincoln Center. He ticularly interesting. They include Webern’s ally digs in, making the deportment of the has recorded the Hindemith viola sonatas for Bagatelles interspersed with Schubert’s Min- other players seem staid by comparison. the Musical Heritage Society label and is on uets (D89), Respighi’s Il Tramonto (Sunset) I asked Brentano first violinist Mark Stein- the faculties of Julliard and the Curtis Insti- for soprano and string quartet, and Schoen- berg if Lee is always that animated. “Oh yes, tute in Philadelphia. berg’s String Quartet no. 2 for the same she certainly is!” he replied, “Though I think Second violinist Serena Canin was born into grouping. In both instances soprano Dawn we’re all like that to some extent.” a family of professional musicians in New Upshaw will sing the vocal line. Along with Steinberg and Lee, violinist Ser- York. She has toured the United States with The Respighi, a setting of Shelley’s poem in ena Canin and violist Misha Amory make up Music From Marlboro, the Brandenburg En- Italian, is as ripely romantic as any listener the Brentano Quartet. All except Lee have semble, and Goliard Concerts. Canin has might wish. The Schoenberg quartet is writ- been members since its beginning in 1992. She taught chamber music to young musicians at ten in a more modern-sounding harmonic lan- joined in 1997, replacing cellist Michael Kan- the Chamber Music Society of Lincoln Center guage, but it too is romantically emotional and nen who left when his wife was injured in an and also teaches at Princeton and New York not nearly as hard to penetrate as some of the automobile accident. Kannen has occasionally Universities. She lives in Manhattan with her composer’s other music. played with the quartet since then, in works husband, pianist Thomas Sauer. The Toronto program will also include that require a second cello, Schubert’s C major Although the Brentanos play the major clas- Mario Davidovsky’s 1980 String Quartet no. Quintet for example. He also substituted for sics of the standard repertoire, they give con- 4. It’s a work that, according to Steinberg, is Lee when she was pregnant. siderable attention to the very old and the very intriguing and original without being exces- The ensemble is based in New York and its new — for example, transcriptions of Mon- sively demanding of the listener. The Montreal members often do individual work within a teverdi madrigals or new pieces by living com- audience will not hear the Davidovsky. Instead day’s drive of the city. Lee, for example has posers, people like Steve Mackey and Charles the musicians will play Mozart’s Quartet K. played in the Marlboro and Tanglewood Fes- Wuorinen. 465 (“Dissonance”) — not a bad consolation tivals. Holding a Master’s degree from Julliard Regardless of what they choose to play, the prize, truth be told. LSM (all four Brentano players are Julliard gradu- Brentano Quartet is highly regarded for what ates), she teaches at Princeton and Columbia. the New York Times calls “a luxuriously warm She has worked with many prominent musi- sound, yearning lyricism and a palpable fris- The Brentano String Quartet with Dawn Upshaw per- cians, including violinist/conductor Jaime son of excitement.” And the Cleveland Plain form on December 4 in Montreal’s Théâtre Maison- Laredo and pianist Mitsuko Uchida. Dealer opines: “Perfection may be an impossi- neuve, www.promusica.qc.ca, then in Toronto at the Her colleagues have similarly impressive ré- ble goal in art, as in life, but the Brentanos Jane Mallett Theatre of the St. Lawrence Centre on sumés. First violinist Steinberg has partici- come close ... The performance was supple and January 11, www.music-toronto.com pated in chamber music festivals in Holland, sweeping ... a collaboration of intense cohe-

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QU4RTZ by ADRIAN RODRIGUEZ POP VOCAL QUARTET, RIGOUR OF CLASSICAL MUSICIANS

Montreal-based A graduate of organ, orchestra direction, and a Masters degree in classical singing from the Qu4rtz is a new a counterpoint at the Conservatoire de Trois-Riv- University of Ottawa. “We already had an cappella quartet ières, François Pothier Bouchard is responsible entrepreneurial desire when we were studying. that is making its for most of the musical arrangements. “Our School was a place that gave us the tools to be name by sharing classical background taught us discipline and a able to realize our project with more efficiency. their passion for working method,” says Bouchard. “Yes, we do I look at our working rhythm — which is singing. Founded pop music and it looks improvised and fun, but monstrous by the way — and the speed at which in 2010, the everything is written and perfectly calculated. we chain different projects. I think that we quartet now consists of Louis Alexandre To be concentrated and rehearsed for hours wouldn’t be capable of it if we didn’t have a Beauchemin, Philippe Courchesne Leboeuf, until we get it perfect. It’s more associated with degree in music. Don’t get me wrong, there are François ‘Fa.2’ Dubé and François Pothier classical than with pop music, where there is many people that do exceptional careers Bouchard. They have a distinctive style, one more space for improvisation.” without having to go to university. However, that combines their classical background Louis Alexandre Beauchemin, who is ‘live on the spot’ and the capacity for writing with a love of pop music, creating clever and responsible for performing many of the high and analyzing quickly are really important, as original unaccompanied voice arrangements singing parts and the beat-boxing, adds, well as sight-reading, to be able to work in an of the great standards of jazz, classical, and “Obviously it’s very important to study music environment where we have to accomplish lots pop music. Their first album A cappella 101 formally. However, it’s also important to look of projects and fast.” came out in 2016 and was warmly received forward and not forget that there is a life after Qu4rtz will launch their new tour in by critics. university, and one must also have a plan.” Montreal with a show that promises to be Although they come across as having a And a plan they had. They managed their musically and visually interesting, together relaxed and youthful vibe, the four singers are growing popularity while being full-time music with a touch of comedy. LSM accomplished musicians and very serious about students. “A lot of students come out of univer- their craft; three of them completed studies in sity with their diploma in the pocket and must Tour begins November 8, 2017, Theatre Maisonneuve, classical music. face a reality that they are not prepared for,” Place des Arts, Montreal. www.qw4rtz.ca says Philippe Courchesne Leboeuf, who holds LES IDÉES HEUREUSES AT 30 GENEVIÈVE SOLY & GRAUPNER by HASSAN LAGHCHA

o mark the 30th anniversary of the Now she has returned to the project she Prize ensemble Les Idées heureuses, which she launched in 2001, redoubling her efforts to awarded founded in 1987, Geneviève Soly is introduce Christoph Graupner to a wider by the : ROBERT ETCHEVERRY PHOTO tackling her favourite project once more: audience. “I went about it in a very organized Conseil bringing the virtuoso harpsichordist and way this year,” she says, citing the 2017–2018 québécois de la musique in the “Personality of composerT Christoph Graupner, one of the great program that underlines the “surprising links” the Year” category. In 2010 she was invited to contemporaries of J.S. Bach, out of obscurity. she has found between Graupner and a number sign the City of Montreal’s Golden Book in November 19 at Bourgie Hall, 30 years to of other illustrious composers. So following the recognition of her international reputation as the day that the ensemble performed their concert “De Monteverdi à Graupner” a Graupner specialist. first concert, Les Idées heureuses will (September 19) and “Bach et Graupner réunis” She is currently looking forward to a high point celebrate their anniversary with a benefit (November 19), the ensemble will pursue the in her career, the 2018 publication of her first concert that pairs Johann Sebastian Bach and same theme in 2018 with “De Graupner à Graupner harpsichord book by one of the world’s Christoph Graupner. These composers are the Mozart” (January 30) and “Couperin et great music publishers, Breitkopf und Härtel. backbone of the ensemble’s repertoire and the Graupner réunis” (May 10). This means she will be the first Canadian to be particular favourites of its director, the published by the German firm, a vindication of harpsichordist and musicologist Geneviève INTERNATIONAL ACCLAIM her popularizing talent. She is also respected for Soly. An expert in Graupner’s music, she tried The work of Christoph Graupner is funda- her managerial qualities, having steered Les Idées to bring this forgotten genius out of obscurity mental to Les Idées heureuses and has helped heureuses on a glittering voyage through the but in 2011 gave it up as a hopeless cause. “I gain them international renown. As one of the musical scene with over 130 concerts and some felt I’d hit a brick wall,” she explains. Using oldest Baroque music groups in Montreal, 400 other artistic projects, including many musicological and historical documents to they have contributed greatly to the city’s educational activities for young people. support her theories, she believed the com- reputation in the field. “In all North America, poser would quite naturally be restored to his Montreal has the most expertise in the “Bach et Graupner réunis”, a benefit concert in honour rightful position among his eminent performance of Baroque music,” says Soly, of the 30th anniversary of Les Idées Heureuses, contemporaries. However, although she gave enjoying the fruits of her efforts to rediscover Bourgie Hall, November 19, 2017. up the struggle, she never gave up hope. and dust off the jewels of the Baroque reper- www.ideesheureuses.ca toire, efforts that earned her the 1997 Opus TRANSLATED BY CECILIA GRAYSON 29 NOVEMBER 2017 29 sm23-3_EN_p30-31_Jazz2_sm21-7_pXX 2017-11-01 2:12 AM Page 30

JAZZ

be possible with considerable financial support? Credit must go to its leader here, not just for securing the necessary funds but also ACTUELLE ANYONE ...? for convincing enough overseas promoters to by MARC CHÉNARD hire a group of sixteen unknowns from a place they may well never have heard of. nyone with knowledge of Montreal’s Its mastermind, electric bassist Éric Normand While there has been some turnover in creative music scene immediately recog- (pictured below), first put together an improv- personnel, the group’s range has also expanded nizes the term “musique actuelle”. isational ensemble, the 18-piece GGRIL to incorporate composed materials, running A Coined over thirty years ago, it first Orchestra in 2004, while staging several music the gamut from graphic scores to more became the identifier of a music docu- happenings with guests from abroad and traditionally notated scores. It has also brought mented by the Ambiances Magnétiques label, steadily documenting its activities on a record in guests on a regular basis, its most famous and soon thereafter of the FIMAV, an interna- label named after the initiative itself. catch being saxophonist Evan Parker, and just tional music festival in the town of Victoriaville. Four years ago, La Scena published a last month singer Maggie Nicols from England, Since then this genre has spread its wings feature piece on the GGRIL. Much has who appeared in Montreal with the GGRIL. elsewhere in Quebec, most notably in the happened since. Its most remarkable achieve- Normand pursues more personal projects as distant outport of Rimouski. For the last ten ment was a ten-city European tour in early well, and some long-distance ones. One of years, a local music initiative, Tour de Bras, has 2016, with stops in Vienna, Paris and Milan. these, a duo with Australian reedman Jim Den- taken root in that city on the Gaspé Peninsula. Need we say that such a bold move can only ley, enabled the bass player to travel down under, and both are headed for an extended European junket in early 2018. The current year is turning out to be a banner year for the label as well, for it has issued more than half a dozen sides, five reviewed below. By winter’s end it should release its most ambitious project to date, a five-CD box set of unissued recordings from the Quatuor de jazz libre du Québec, Montreal’s pioneering free jazz group of the sixties and seventies. LSM

Label website: www.tourdebras.com

PHOTO : MARIE-EVE CAMPBELL

the music spreads over five tracks and unfurls ated this music may also serve as the best NEW RELEASES in rapid-fire gestures, as if they were creating introduction to the Tour de Bras label. a musical equivalent to Jackson Pollock’s Lepage, Lussier et le Quatuor Bozzini — action painting. The group is relentless in its GGRIL — Ceci n’est pas un poème Chants et danses ... with strings chases but refrains from going over the top; TDB9015 TDB9019 listeners, for their part, are given but a few Like the preceding release, this one is also Founding fathers of the musique actuelle seconds to catch their breath between tracks. text-based, in this instance writings from movement, the clarinet and guitar duo of Robert It seems that the quartet decided to follow a prisoners of opinion, either sung or recited in Marcel Lepage and René Lussier, are reunited very specific game plan, hence the impression English, French, or Spanish. Subdued for the after a lengthy hiatus. True to their playful streak of a certain sameness to their performances. most part, the mood is disrupted by occasional and commitment to sonic experimentations of outbreaks of improvisational mayhem. Eight all kinds, they pick up where they left off more Éric Normand — Mattempa members of the GGRIL are on board here, than twenty years ago. Both have a sense of TDB9018 including Normand, the leader of this ten- humour, most notably in the whimsical titles, Bassist Éric Normand has drawn inspiration track 54-minute work. A dark work, but very two of which translate roughly as “Strings as the here from the work of the late Jacques Ferron, much in keeping with its subject matter. key to success” or “How to keep the sacred fire a well-known literary personality in Quebec. without burning one’s capital.” Not only that, In the liner notes, the musician states that this Rowetor 03-04 but the cover illustration is a sly allusion to the recording is the first of a series of instrumen- TDB9020 (Double) 1950 Charlie Parker with Strings album, the tal albums derived from the writer’s oeuvre. More radical in approach, the stylings of Rowetor, Bozzini quartet providing their bows for a few Mattempa is a legendary figure, a mythical a 15-piece orchestra of German improvisers cameo appearances. In fact, the album is a pure giant contained in a story that underpins the nominally headed by tuba player Carl-Ludwig studio creation, assembled out of independently music of this recording. More impressionistic Hübsch, offers a kind of static minimalism. Each recorded tracks by all concerned. in tone, this imaginary soundtrack unfolds disc contains a single piece, the first clocking in at slowly, with ethereal-sounding themes over 40 minutes, the second around a half hour. Yves Charuest — (Un)fold surfacing along the way. For want of a better The instruments blend in such a way as to meld TDB9021 term, the music could be labelled as a kind of into one another, creating a kind of indistinct In June 2014, alto saxophonist Yves Charuest chamber-like take on musique actuelle, mass that reaches mid-volume at loudest. This and his trio Still performed in Montreal with performed here by a quintet of electric bass, approach — one that has its following in Europe, the Catalonian pianist Augusti Fernández. cello, pocket trumpet, percussion, and the particularly in the German-speaking countries — Three years later, an album from this group dual reeds (soprano sax, bass clarinet) of offers little in terms of relief, save for subtle and at appears, a studio effort recorded the day after Montreal’s Philippe Lauzier. Although times achingly slow variations of timbre. You their show. Improvised from start to finish, sophisticated in approach, for the non-initi- either turn on ... or switch off. It’s your call. 30 NOVEMBER 2017 sm23-3_EN_p30-31_Jazz2_sm21-7_pXX 2017-11-01 2:12 AM Page 31

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one who encountered him. rative moves at a steady pace, Were it not for this book, how- clearly written and balanced in ever, Ranger’s legacy might terms of judgements, both BLUE NOTES well have been swept under the favourable and critical, and carpet of history. Penned by nary any hyperbole. Mark Miller, the one-time If Ranger’s disappearance Globe and Mail jazz writer, this casts a long shadow, there are AND BOOK tome is a remarkable addition other sad facts as well. For to the literature of Canadian starters, Ranger never music, all the more so given the recorded under his own obscurity of the subject. name, and no traces survive NOTES A tireless champion of the of his Jade Orchestra in forgotten, Miller has made his Vancouver. Conversely, the Mark Miller: Claude Ranger — mark (no pun intended) as appended discography lists Canadian Jazz Legend Canada’s de facto jazz histo- his sideman credits, yet none Toronto, 2017; ISBN 978-1-77302-559-9 rian. Since 1983, he has of these albums are in print churned out eleven books, now. In 1998 he stopped Canadian jazz lore has its fair share of exceptional ranging from a dictionary of native musicians, playing, not long after being diagnosed as bi- figures. Drummer Claude Ranger is one of them, two collections of portraits, an early history of polar. A composer, Ranger nevertheless de- albeit for none of the usual reasons. If not mis- jazz in Canada, and a monograph on Charlie stroyed all of his charts, according to an taken, he is the only musician whose career was Parker’s appearances in Toronto and Montreal. acquaintance, save for an odd part preserved by equally divided between the country’s three main On occasion he has expanded his scope by re- one of his protégés. He then sold his drums to centres, Montreal for his formative years, Toronto tracing the early dissemination of jazz on the a young player, Ivan Bamford, apparently the in mid-life and Vancouver for the final chapter, planet while publishing biographies of obscure last person to see him alive. one that remains open-ended with his disap- figures like Valaida Snow and Herbie Nichols. The most disturbing fact, however, is that pearance in November 2000, age 59. Seventeen This newest work, issued last spring, is the author found no publisher, forcing him to years later, his whereabouts are still unknown, consistent with the author’s output. For one, he publish the biography at his own expense — and a missing person’s file remains open at an had interviewed Claude Ranger several times in more damning proof of a typically Canadian RCMP detachment. But this is not the main issue his journalist days and had taken pictures of him, trait to write off our own. LSM at stake in a recently published biography of this like the one gracing the cover. Next, and more singular musician. Arguably the most original importantly, he weighed the evidence with much (Available in paperback vo Indigo or Amazon Canada.) drummer ever produced in the country, the na- circumspection, corroborating it with first-hand tive Montrealer left a lasting impression on every- accounts from a host of eye-witnesses. The nar- mma .org •my NEWS •my EVENTS •my CULTURE

NOVEMBER 2017 31 sm23-3_EN_p32-33_Concert Reviews2_sm21-7_pXX 2017-11-01 2:28 AM Page 32 CONCERT REVIEWS by OLIVIER DELAIRE, TOM HOLZINGER, VIVIANE JEANSON-DELORME, ADRIAN RODRIGUEZ, BENJAMIN GORON, ARNAUD G. VEYRADIER (COMPILÉES PAR MARC CHÉNARD)

Sondra Radvanovsky, soprano, Opéra de Québec : Rigoletto HH stage after intermission. He is a musical force of Anthony Manoli, piano HHHHH Verdi’s Rigoletto, Derek Bate, conductor; Gregory Dahl, nature in spite of his small build. By the end of October 22, Grand Théâtre de Québec baritone; Raphaëlle Paquette, soprano; Steve Michaud, Brahms’ first movement, he was in top form Performance 10/10 tenor, Geneviève Levesque, mezzo-soprano. with a difficult but emotional cadenza. October 21, Grand Théâtre de Québec GRIPES: Tempos did not quite suit the Performance : 4/10 Solists : 4/10 music, nor were conductor and soloist in full WHAT YOU MISSED: On the upside, the work sync. Vengerov likes unusual pianissimos, was conducted with much clarity and effi- which would have been more effective had the ciency by Derek Bate, the choir was equally orchestra played more softly. TH solid (e.g. “Zitti, zitti, moviamo a vendetta”), and Francois Racine’s staging was Love Songs Opera HH1/2 both very nice and classical in style. Bass Mar- Marie-Annick Béliveau, mezzo, and cel Beaulieu was a pleasant surprise; his voice Jean Derome, anches, objets was appealing, sonorous and full of depth by September 27-28 & 30, Le Gésù PHOTO : PAVEL ANTONOV the end of his duo with Rigoletto. Performance: 5/10 GRIPES: In spite of a nice voice, tenor Gre- TAKE 1 gory Dahl lacks the range of expression WHAT YOU MISSED: Canadian diva Sondra needed for the main role. Alas, Steve Michaud Radvanovsky presented a two-hour recital is not up to par for the role of the Duke. Not without showing any signs of vocal fatigue. only is his voice uneven, but it is also nasal and The soprano interpreted songs from Bellini, the singer uses falsetto to hit if not scream the Verdi, Strauss, Liszt, Barber and arias from high notes, and his scenic presence left much the operas Tosca, Andrea Chenier, Dvořák and to be desired. OD a song from the musical “My Fair Lady”. Not only did she sing impeccably, but this prima SECOND OPINIONS donna also broke the typical recital conven- Adrian Rodriguez: H Perf: 3/10 Soloists: 2.5/10 tions: She spoke to the public between pieces, Dino Spaziani: HHH 1/2 Perf: 8/10 Soloists: 7.5 creating a rapport, sharing her musical intel- lect and allowing the audience to feel at home WHAT YOU MISSED: A great performance by by sharing personal anecdotes. Listening to the polyvalent mezzo Marie-Annick Béliveau Sondra Radvanovsky on Sunday night was a as she explored sounds that went from raspy- spiritual experience. At the end of the concert bluesy to classical to flat-out screaming. Sax- a divine silence reigned as if everybody in the ophonist Jean Derome played with a big audience was left speechless, incapable of palette of colours and nuances. The music finding the words to describe the beauty we pleased fans of experimental sounds and dis- had heard. AR sonant harmonies. For those who expected operatic music in the traditional sense, this TAKE 2 was more of a song cycle with staging. It WHAT YOU MISSED: Sondra Radvanovsky is seemed to be more about exploring ways of ex- one the most highly in demand singers in the pressing love than a search of beauty. world today. Her concert on October 22 tells PHOTO : CARNEGIE HALL GRIPES: For contemporary music lovers us why. In a word, it was majestic. At once only. The program included cacophony, sym- personal, varied and heartfelt, the singer L’OSM, direction Ken Nagano, et bolic all-black staging, sober costumes. Worse, opened with Giacomelli’s “Sposa son disprez- Maxim Vengerov, violon HHHH1/2 it was sung mostly in incomprehensible lan- zata”, followed by a cycle of Bellini arias, songs Maison symphonique, October 17 guage, making it impossible to follow the by Strauss, Samuel Barber and, as closer, “La Performance 8/10 story. AR mamma morta” from Umberto Giordano’s Solistes : 9/10 Vengerov opera Andrea Chenier. As encores, she sang 10/10 Jean-Willy Kunz But: Read also Dino Spaziani’s positive review online. Dvořák’s “Song to the Moon”, “I Could Have WHAT YOU MISSED: Last month he OSM gave http://myscena.org/fr/dino-spaziani/critique-love- Danced All Night” from My Fair Lady and a a much-anticipated concert with celebrated songs-opera/. superb rendition of Puccini’s “Vissi d’arte”. guest violinist Maxim Vengerov. Together they Powerful and flexible at the same time, her performed a masterwork of the repertoire, voice is effective in the mezzo voice range with Brahms’ Violin Concerto in D major. Also on You Say You Want a Revolution HHHH a host of nuances that are simply breathtak- the program were Bartók’s Concerto for Or- Orchestre de Chambre de McGill, dir. Boris Brott ing. Her performance was a master class in chestra and Samy Moussa’s A Globe itself in- 27 septembre, MBAM and of itself. Throughout the recital, I could folding for organ and orchestra. All three of Performance 8/10 only marvel at how well she embodied the op- these pieces are fine, evocative works, and in WHAT YOU MISSED: This concert by the eratic tradition. OD the main the orchestra played them brilliantly. McGill Chamber Orchestra was staged as part The principal players gave us an astonishing of the current MMFA exhibition Revolution. range of sounds, including a hushed pianissimo The program was a very varied one, with from the piccolo. Maxim Vengerov took to the works by Frank Zappa (“Zomby Woof”), 32 NOVEMBER 2017 sm23-3_EN_p32-33_Concert Reviews2_sm21-7_pXX 2017-11-01 2:28 AM Page 33

Shostakovich (Chamber Symphony in C- Minor — this writer’s personal favourite), a medley of songs from the Beatles’ Sergeant Pepper’s Lonely Hearts Club Band, and a slate of pieces from Cape Breton fiddler Ashley MacIsaac, whose energetic presence was a welcome addition. His progressive take on folk music was warmly embraced the audience. Sadly this was a one-time concert; its variety was a definite asset. Such programs are a use- ful invitation to the uninitiated to become bet- ter acquainted with orchestral music. GRIPE: MacIsaac’s sound was a bit raw and grinding, perhaps due to his fast and furious playing. VJD

Off Jazz Festival 2017 Quintettes de Mario Allard et de Benjamin Deschamps Upstairs Bar & Grill, 8 octobre HHHH (pour les deux) Performance: 9/10 WHAT YOU MISSED: This concert marked the DANIEL ARTHUR TRIO launch of alto saxophonist Mario Allard’s new CD Diaporama. Here he translates into music some thoughts and events gleaned from life. The concert followed the same sequence as the

Daniel Arthur Trio HHH1/2 Erik Hove Chamber Ensemble HHH1/2 11 octobre, Café Résonance 13 octobre, Chapelle historique du Bon-Pasteur Performance: 8/10 Performance 8/10 WHAT YOU MISSED: Undoubtedly one of the WHAT YOU MISSED: Alto saxophonist and his most striking shows at this year’s Off Jazz fes- tentet performed in the intimate surroundings tival. The young pianist Daniel Arthur and his trio gave a sterling performance that bodes well for the future. The leader has assimilated his personal influences into finely wrought

PHOTO : MARIE VALADE compositions that did not constrain the play- ers in any way. The written sections dovetailed disc. The music showed a deep understanding perfectly into the improvised ones and proved of jazz in its many distinctive facets, breath- the fine chemistry of this trio. It had good con- ing fresh air into the leader’s original pieces, trol of its repertoire, even throwing in a stan- eight in total. The taut and razor-sharp con- dard or two (“Autumn Leaves”, versations between the leader and his trum- “Stablemates”). peter David Carbonneau served as a common GRIPE: At times the group seemed to labour thread, one that never frayed. Kudos also to before getting things up and going. AGV drummer Alain Bourgeois for his daring play- of this hallowed concert venue. It mostly ing and seemingly limitless musical resources. François Bourassa Quartet HHHH1/2 played pieces from its second recording, Poly- Benjamin Deschamps, also an alto player, 11 octobre, Lion d’or gon, issued last spring on Inner Circle Music. earned this year’s Revelations Prize from Radio Performance: 9/10 Dense, surprising sound masses arose from Canada. His debut album Demi-Nuit is shaded WHAT YOU MISSED: The the group’s varied instruments, producing in subtle and original hues that reveal a fine quartet of pianist François polyphonic tufts of sound framed by the spot- compositional sense while factoring in the in- Bourassa performed before less rhythm section. While the music was de- dividual personalities of the group. Case in a large audience that could manding, it remained sufficiently accessible. point was the extended three-part suite hardly conceal its enthusi- GRIPE: Because of the group’s extended “Prophétie” that left much open space for all to asm. The evening marked arrangements, it was difficult for improvisers solo. Listeners heard the musicians really lock the launch of the group’s to stand out and be given space to solo. AGV

heads and give full expression to their thoughts latest recording, entitled RIVARD : MATHIEU PHOTO LSM in a most musical way. This group’s sophisti- simply Number 9 (Effendi Records). cated musical language may well have surprised Bourassa’s wide-ranging music embraced — it explores new terrains — but it was also eclectic influences, giving rise to moments of 48th season mindful of balancing ensemble playing with in- rich contrast, underscored by his band mates, 2017-2018 dividual inputs. All in all, a flawless evening of all blessed with considerable know-how. The Saturday, november 11, 6PM music-making with no gripes at all. BG concert validated Bourassa’s reputation as one Chapelle Historique du Bon-Pasteur 100, Sherbrooke East, 514 872 5338 of the guiding lights on the Montreal jazz scene. Viva España! GRIPE: It took some time for the band to hit Concert co-sponsored by Ruby Stein Wagner, SENC and under the auspices of the Consulate General of Spain in Montreal its stride. AGV Works by Pedrell, Halffter, de Falla, Turina and Granados Tickets: $35, $25 (for seniors and students) Reservations and information: 514 489 8713 – www.cameratamontreal.com

NOVEMBER 2017 33 sm23-3_EN_p34-35_CD_Reviews_sm21-7_pXX 2017-10-31 10:26 PM Page 34 CD REVIEWS by PAUL ROBINSON, NORMAN LEBRECHT

SEIJI OZAWA: LOOKING BACK With the Boston Symphony, Ozawa recorded The structure domi- AT A THRILLING CAREER extensively for Deutsche Grammophon and nates its surround- Philips. Pentatone has remastered a number of ings as surely as Bartók: Music for Strings, Percussion recordings and reissued them as Super Audio the Sydney Opera and Celesta CDs. A recent release features Ozawa and the House now signifies Concerto for Orchestra. Boston Symphony BSO in Bartók’s Music for Strings, Percussion its harbour. The Orchestra/Seiji Ozawa/Rafael Kubelik. Pentatone and Celesta, with deeply expressive playing but Grand Hall occupies PTC 5186247. Time: 69:53. very slow tempos. the middle of the Ozawa also had a long association with the glass section on top New Year’s Concert 2002 Vienna Philharmonic. In 2002 he was invited of the warehouse. Music by Johann Strauss, Josef Strauss and Josef to conduct its annual New Year’s Concert, and The audience sits in Hellmesberger. Vienna Philharmonic Orchestra/Seiji this has recently been reissued on DVD. a series of pods dis- Ozawa. Arthaus Musik DVD 109315. Time: 109:00 Ozawa is at his absolute best here, charming tributed asymmetrically around the hall. + 32:00 (special features). musicians and audience alike with his infec- Thomas Hengelbrock is the music director of tious energy and good humour. He conducts the NDR Elbphilharmonie Orchester and the Haruki Murakami: Absolutely on Music : without a baton and leads the entire concert man who put together the unusually thought- Conversations with Seiji Ozawa. from memory, including such obscure pieces ful program for this concert. It opens with a New York: Alfred A. Knopf, 2016. 325 pages. as Johann Strauss’ Carnival Ambassador piece for solo oboe by Benjamin Britten — the Waltz and Josef Strauss’ polka The Jabbering oboe being the instrument that traditionally This past September Woman. The concert is a delight from tunes the orchestra. Oboist Kalev Kuljus plays Seiji Ozawa cele- beginning to end. from the rear and is heard but not seen: a brated his 83rd Haruki Murakami. one of Japan’s leading clever way to have the audience focus on the birthday. In spite of novelists, has also had a lifelong interest in sound. The program goes on to showcase en- a serious cancer in music. He lived in Boston for several years and sembles large and small and music from many recent years, Ozawa developed a friendship with the conductor. periods. Several pieces have a Hamburg remains active as a Murakami has now documented their long connection, e.g. a motet by Praetorius (1586- conductor.Next conversations about music. Ozawa is not by 1651) composed for a wedding. The concert summer he plans to nature a man given to articulate analysis of ends with a celebration of the choral move- conduct a Beeth - music — even in Japanese — or of technique. He ment of Beethoven’s Ninth. oven festival. prefers to just “do it” rather than talk about it. The disc includes both a documentary and the ex- Ozawa has a special Nonetheless, there are some useful anecdotes. ternal light show that blazed during the concert. association with Ozawa has quite a lot to say about Glenn Gould’s Tor onto. He con- different recordings of Beethoven’s Piano T he Tc haik ovsk y Ballets: ducted his first con- Concerto No. 3 as conducted by Karajan and A Russian festival of sound certs there in 1964, Bernstein respectively. Ozawa also tells a story Tchaikovsky: Swan Lake. The Sleeping Beauty. The causing a sensation. about performance of Mahler’s Das Lied von Nutcracker. James Ehnes, violin. Robert deMaine, He was immediately der Erde with Jessye Norman and Ben Hepp- cello. Bergen Philharmonic/Neeme Järvi. Chandos hired as the TSO’s ner. Heppner used a music stand for the 5204 (5 CDs). Time: 6 hours, 32 minutes. next music director. performance. In one passage Ozawa flailed his At the time he was arms with such exuberance he caught his little Here are all three of 28 years old and finger under the edge of Heppner’s stand — and Tchaikovsky’s great barely spoke a word broke the finger! Ozawa gritted out the rest of ballet scores gath- of English. Con - the performance before going to the hospital for ered together in one ducting Prokofiev’s surgery. box, in superlative Sym phony No. 5 performances with and Tchaikovsky’s A Gala in Hamburg — Grand Opening of the an uncommonly Symphony No. 5, E lbphilharmonie rich and full re- Ozawa drew in spir - Elbphilharmonie Hamburg Grand Opening Concert. corded sound. Can - ed performances via Music by multiple composers. NDR Chorus & Bavarian adian James Ehnes an extra ordinarily Radio Chorus. NDR Elbphilharmonie is the brilliant violin soloist. The set commem- precise and graceful Orchester/Thomas Hengelbrock. Bonus Documentary: orates conductor Neeme Järvi’s 80th birthday, baton technique. He The Elbphilharmonie — Hamburg’s New Landmark. and it deserves a warm welcome. re mained in Tor - Blu-ray Disc 741504. Time: 165:00. When it comes to Swan Lake or The Nut- onto for only a few cracker, a ballet conductor has little choice but exciting years, 1965- The new Elbphilharmonie in Hamburg received to follow tradition. Not so for concert 1969, before being much attention during its inaugural concerts performances. Neeme Järvi has been steeped snatched away by this past January. An extraordinary piece of ar- in Russian music-making from the time he the Boston Symphony, his long-time musical chitecture, the concert hall is built on top of a first learned to read music. He conducts these home. red brick warehouse in Hamburg’s busy port. ballet scores with obvious love for the music 34 NOVEMBER 2017 sm23-3_EN_p34-35_CD_Reviews_sm21-7_pXX 2017-10-31 10:26 PM Page 35

but also with expansive phrasing and a keen C major Op. 58. Violin Concerto No. 3 in B minor Op. is in Saint-Saëns’ best lyrical vein. Only the ear for telling details. 61. Andrew Wan, violin. Orchestra symphonique de finale seems a little lightweight in comparison. In these ballets Tchaikovsky comes up with Montréal/Kent Nagano. Analekta AN 28770. Total Andrew Wan has been co-concertmaster of one fresh idea after another. Instruments are Time: 74:04. the OSM since 2008 and is also a founding deployed with a keen understanding of their This is a terrific recording from the OSM and de- member of the New Orford Quartet. He plays range of sound. The violin solos in The Sleeping serves attention. The brilliantly in all three concertos with dazzling Beauty and Swan Lake are beautiful pieces in Violin Concerto No. technique and a voluptuous tone. Nagano and themselves, quite apart from the ballets. James 1 is only thirteen the OSM provide sensitive and committed Ehnes is a grand violinist and he plays them with minutes long and is accompaniments; soloist and conductor demon- gorgeous tone and impeccable technique. barely a concerto at strate a special affinity for the ideal ebb and flow There have been many fine recordings of these all. But it is charm- of these scores. Principal oboe Theodore Baskin Tchaikovsky ballet scores, but these Chandos ing and ought to be plays with great beauty and subtlety of phrasing versions are among the best. Congratulations to played more often. in the several slow movements. producer Brian Pidgeon and chief engineer The Concerto No. 2 These performances were recorded live in Ralph Couzens and to the Grieghallen, the fine is much more sub- the Montreal’s Maison symphonique. The 1,500 seat hall in Bergen where the recordings stantial and almost the equal of the better- hall’s acoustics enabled the marvellous sound were made. known Concerto No. 3. The first movement is a quality, with kudos as well to producer Carl Saint-Saëns: the complete powerful and complex movement with a ca- Talbot. LSM Violin Concertos denza full of technical challenges. The second Saint-Saëns: Violin Concertos (complete). Violin Con- movement with prominent harp and wind solos certo No. 1 in A major Op. 20. Violin Concerto No. 2 in

SEASON HIGHLIGHTS Chamber Music Faculty Artists Ensemble, Musicians from Marlboro, Cecilia String Quartet with Patricia Parr, and Krisztina Szabó, Christopher Enns and Steven Philcox in The Artist’s Life Through Song. Choirs in Concert and Early Music Sing and Rejoice!, In High Voice, Music for a Sunday

2018 Afternoon, Cherubini’s Requiem with the UofT Symphony Orchestra, The Tallis Scholars, and Mozart’s Requiem. . Opera Mozart’s Don Giovanni and Gershwin’s Of Thee I Sing Thursdays at Noon William Aide, Enrico Elisi, Timothy Ying, Lydia Wong and Teng Li, Music and Poetry, Rob MacDonald, Beverley Johnston, Rudin Lengo, Simona Genga, and Asher Ian Armstrong and Emily Kruspe. Visitors George E. Lewis, Nicole Lizée, Johannes Debus, Howard Shore, 2017 John Hess, and Renee Rosnes. For complete 2017-2018 listings visit music.utoronto.ca. Tickets: 416.408.0208

The Faculty of Music gratefully acknowledges the generous support of our presenting sponsors:

NOVEMBER 2017 35 sm23-3_EN_p36_Audio_Hearing_sm21-7_pXX 2017-10-31 10:17 PM Page 36

AUDIO MUSIC, HI-FI, AND WONDER by MAURICE RHÉAUME

hen I became part of the Orchestre for many years. To my great surprise, many mones, comfort hormones in breastfeeding symphonique de Québec manage- people in the audience talked about their joy mothers, and oxytocin, a confidence hormone, ment team in 2009, I came up with of musical listening; most audience members to secrete, all of this in direct association with W the idea of implementing pre-concert appreciated the quality of this sophisticated sexuality and harmonious relationships with musical talks at Grand Théâtre de equipment. others. In the same vein of research, a study Québec to share my passion for classical According to Ghyslaine Guertain, a philos- conducted by the Montreal Neurological In- music. Conferences, hearings, and projections ophy professor at Collège Édouard-Montpetit, stitute and Hospital and McGill University followed through partnerships with Quebec concluded that “music not only produced a City’s Musée de la civilisation, Grande sense of pleasure… but simply put, music is a MAURICE Bibliothèque Gabrielle-Roy, and Laval RHÉAUME special fuel that stimulates millions of brain University. Nowadays, I share my musical PHOTO : nerve fibres that would otherwise remain dor- LOUISE_LEBLANC passion through talks and hearings by way of mant and underdeveloped… During moments large library and cultural centre networks, and of musical exhilaration, blood travels through other cultural organizations in Montreal, the brain to locations where, like sex, choco- Trois-Rivières, and Quebec City. Finally, for late, and champagne, it provides satisfaction the last 14 years, I have been happy to share and joy, and withdraws from brain cells linked my enthusiasm for classical music as host of a to depression and fear.” program on Montreal’s Radio Ville-Marie Physician David Bohm, a student of Ein- (91.3 FM). stein, showed in Patrice Van Eersel’s La I am not only passionate about discovering source noire that there exists an order that huge repertoire and great music but also pas- prevailed beneath ours, an implicit universe sionate about sharing my research into thera- we know little about and where our universe is peutic qualities of music and its attentive, only an expression. This implicit order is es- active, and conscious listening with listeners. sentially withdrawn. Bohm was familiar with In a 1971 interview with John Roberts, great at least two ways to explore this other realm. pianist Glenn Gould confided his conviction “The first way is mathematical, perhaps more on “art’s therapeutic and restorative value.” In sharp-edged, but more limited. The second the same interview, Gould spoke highly about way is through musical emotion. You just need therapeutic qualities of listening to music “Glenn Gould bestows a major technological to be human to find the ability that gives you calmly at home, in a space that fostered “a role on ideal conditions to enable… the musi- the essence of who we mathematicians and contemplative state.” During my conferences cal bliss that can only be possible in a closed physical theory researchers are to eventually and musical talks, I attempt to take listeners space.” Gould believed that leading-edge tech- understand after many years of work. At the away from the daily humdrum and have them nology was needed during music recordings precise moment when music moves you, if you listen to wonderful moments of music. I pro- to achieve the best music listening experience are attentive, you can see how the past, pres- vide those present with a short moment of at- at home. Specialists, however, believe in the ent, and future fold up into one point—the tentive and focused listening, coupled with an garbage-in, garbage-out theory. Regardless point that represents your conscience. Emo- attitude that promotes contact with a deeply of the quality of hi-fi system used, recording tion is one way to access the implicit order. It kind nature and inspired music. quality is essential; it is wrong to think that is almost impossible to capture this order When I started my career, I gave secondary sound coming out of compressions has no im- through words.” A high-level music experi- importance to the quality of the equipment I pact on recording quality. When all hi-fi sys- ence, what’s not to like? used, since I thought that compressed music— tem elements are taken care of, recordings are It goes without saying that a quality hi-fi often heard on mobile telephones in a dis- chosen, and listening conditions—home com- system can be quite expensive. In a world of tracted, noisy environment—went unnoticed. fort, quiet, attentive listening—are the best, programmed obsolescence where major ap- When I visited the Simaudio studios in the experience is enhanced emotionally, phys- pliances are disposable of after a few years of Boucherville, however, my perception sud- iologically, and spiritually. Dr. Daniel Levitin, use, however, the right audio system is a sus- denly changed. A partnership with the com- neuroscientist at McGill University, confirms tainable investment for an exceptionally emo- pany allowed me the use of one of its Moon that brain regions stimulated by pleasant tional experience and a source of constant audio amplifiers during my conferences. It is music listening are the same as regions stim- wonder. Take care of your listening! LSM a misconception that this quality perception ulated by drug use or sexual intercourse. Ac- TRANSLATED BY DWAIN RICHARDSON is reserved to beginners’ circles or to those cording to Dr. Levitin, music listening enables used to hearing this type of audio refinement body dopamine, human and prolactin hor-

36 NOVEMBER 2017 sm23-3_EN_p37_ADs_Opus&AudioNote_sm21-7_pXX 2017-10-31 1:23 PM Page 37 sm23-3_EN_p38_donorlist_sm21-7_pXX 2017-11-01 6:32 AM Page 38

La Scène Musicale / The Music Scene 2017 CAMPAGNE DE FINANCEMENT/FUNDRAISING CAMPAIGN Merci! / Thank you! Dons reçus entre le 1er août 2016 et le 31 juillet 2017 Donations received between August 1, 2016 and July 31, 2017.

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Reçu pour fins d’impôts disponible pour tout don de 10 $ et plus courriel/email A tax receipt will be issued for all donations of $10 or more...... montant/amount...... nom/name ...... VISA/MC/AMEX ...... adresse/address ...... exp ...... /...... signature ...... ville/city ...... Envoyez à/Send to: province ...... La Scène Musicale pays/country ...... 5409, rue Waverly, Montréal, QC, H2T 2X8 code postal ...... Tél. : 514.948.2520 [email protected] • www.lascena.ca téléphone ...... No d’organisme de charité/Charitable tax # : 141996579 RR0001 sm23-3_EN_p39_PianoSale_sm21-7_pXX 2017-11-01 6:27 AM Page 39

Vente de pianos/Piano Sale ESMONDE-WHITE

PIANOS ESMONDE-WHITE l’achat d’un piano Esmonde-White, 10% des ventes 308-5445 Avenue de Gaspé, serviront à soutenir La Scena Musicale. Ce don Montréal, QC H2T 3B2 sera fait en votre nom et vous recevrez un reçu d’impôts. (514) 669-2737 A www.pianoew.com Cette promotion s’applique uniquement pour les modèles 188a et 131 Magic. Valable jusqu’au 31 décembre 2017. Renseignez- vous sur nos locations de concerts.

hen you purchase an Esmonde-White piano, 10% of the Piano proceeds will go to support La Scena Musicale. This E W Wdonation will be made in your name; you will therefore receive a tax receipt. Promotion only applies to the 188a and 131 Magic models. Valid until Dec. 31, 2017. Ask about our concert rentals. sm23-3_EN_p40_Audio_Note_sm21-7_pXX 2017-10-31 10:01 PM Page 40 AUDIO NOTE UK THE HOLY GRAIL OF AUDIOPHILES by ARNAUD G. VEYDARIER PHOTO : EVEN CLOUTIER PHOTO

he advent of streaming platforms has transport, DAC, speakers and other acces- AUDIO NOTE MUSIC radically changed the way people listen to sories, using the knowledge that has made the In early 2017 Qvortup and Audio Note UK music. Today music accompanies the company famous since its foundation. To cope founded their own record company, Audio daily life of millions of individuals, very with the growing demand, Qvortup opened Note Music. Driven by the same desire to offer often heard via portable devices. While two more branches, in Austria and Lithuania, music lovers an absolute musical experience, thisT hyper-accessibility seems to be character- each of which specializes in the manufacture Qvortup retained the services of the talented istic of a new relationship to art and culture, of certain products. cellist Vincent Bélanger with whom he re- some aficionados continue to maintain and corded his first album, Pure Cello (Audio Note promote a more exalted conception of musical VERY BEST AND NEAR-BEST Music, 2017). A resounding success, this listening. This is particularly the case of Peter Audio Note offers an impressive range of recording presents remarkable interpretations Qvortup, visionary and owner of the company products to satisfy both the most diehard au- of pieces by composers J.S. Bach, F.W. Grütz- Audio Note UK, for whom the vast majority of diophiles as well as listeners looking for more macher, M. Reger and G. Cassadó. The current audio devices offer only a partial — or economical solutions. Among the state-of-the- achievement stands out for its great trans- even failing — experience of the pleas- parency, leaving lots of space for ures of musical listening. Bélanger’s intimate subtleties. More than a simple album, this GENESIS OF AN recording is a true manifesto in an in- EPIC STORY dustry that tends to standardize music Originally founded by the Japanese in- production. “How many recordings of novator Hiroyasu Kondo, Audio Note Beethoven’s Symphony No. 5 does a has been working in the high-fidelity man need?” exclaims Qvortup when audio equipment sector since 1976. Not asked about Bélanger’s choices of content with selling some of the most repertoire on Pure Cello. This desire popular audiophile devices, the com- to reveal to the general public still pany has been manufacturing the ma- unknown parts of classical music jority of the world’s electronic audio corresponds well with Qvortup’s hu- components. After a great success in manistic aims. In this sense, although the Southeast Asian market, the com- the audio quality of the recordings re- pany decided in 1989 to ensure the mains a major concern, it aspires worldwide distribution of its products. more to deconstruct the idea that clas- One year later, Audio Note launched PETER QVORTUP & VINCENT BÉLANGER. PHOTO: EVEN CLOUTIER sical music is only for hard-core music one of its most emblematic models, the lovers. Ongaku. Critically acclaimed, this Class A tube art options, the M9 Phono Platinum Pre - If Audio Note remains a leader in the high- amplifier also contained famous transformers amplifier for turntables offers an unparalleled fidelity audio market, it is primarily thanks to made with hand-coiled silver windings. listening experience. Entirely hand-welded, it this desire to maintain the highest standards. When an unprecedented economic crisis hit is designed to get the best possible sound from Qvortup deplores the fact that, in a market the Southeast Asian countries in 1997, Audio any vinyl record pressed to the RIAA EQ stan- that often equates music with a consumer Note split into two separate entities: Kondo dard. Audio Note also offers a wide range of product, the majority of sound systems cannot Labs, which continued to operate in Asian preamplifiers and monobloc amplifiers for CD do justice to the performers’ interpretations. countries, and Audio Note UK, which main- playback that are suitable for both purists and From this philosophy flows a boundless com- tained control of European distribution. general listeners. mitment to making audio equipment an es- Having worked in the company for several However, Qvortup also makes it a point to sential link in the chain that joins musicians years as a distributor, Peter Qvortup acquired offer accessible solutions to less-fortunate cus- to listeners. the English division of Audio Note in 1998. tomers. He concedes that it would be easier for The Audio Note UK team will display its This transfer of power offered him the means him to restrict his production to a well-en- equipment at the upcoming Montreal Audio to accomplish some unusual ambitions. He dowed clientele, but he aspires first and fore- Show, which runs from March 23 to 25, 2018. has been determined to push the high-end most to introduce new generations to the Audio Note will showcase, among other good- formula even further, and he considerably pleasures of audiophile listening. It is in this ies, its latest platinum turntable, the TT3. Au- widened Audio Note’s range of products. context that offers a range of less expensive de- diophiles be prepared! LSM While the original company focused on man- vices, designed nevertheless with the same ufacturing amplifiers and accessories, Qvortup quality standards. For example, the IZero in- www.audionote.co.uk has invested heavily in research and develop- tegrated amplifier model (combined pream- TRANSLATED BY ADRIAN RODRIGUEZ ment. This was how Audio Note started pro- plifier and amplifier) is an excellent entry duction of its own turntables, CD players, CD point into the world of high-fidelity audio.

40 NOVEMBER 2017 sm23-3_EN_p41_Streaming_sm21-7_pXX 2017-10-31 9:24 PM Page 41 STREAMING MUSIC SERVICES TAILORED TO MUSIC LOVERS by ARNAUD G. VEYDARIER

he decline in physical album sales is a phe- forms. The musical offering is similar to that quality. Note that it is of course necessary to nomenon that has been hitting the music of Spotify, with a claimed catalog of 40 million have a high-fidelity system for listening; oth- industry hard since the arrival of mp3 files songs. However, Apple Music differs from its erwise the difference cannot be appreciated. Tin the mid-1990s. However, it is the rival in that it requires a monthly subscription. In addition, Tidal has the advantage of paying arrival of streaming platforms that defi- Several options are available, including stu- more royalties to artists than its competitors. nitely concludes this process of “dematerializ- dent and family packages. Importantly, its Available via its app or directly from its web- ing” music. As evidence that the revolution audio quality does not exceed 256 KB/s, site, www.tidal.com. continues to advance, a Nielsen poll recently slightly below the average of the major reported that 53% of Canadians now listen to streaming platforms. Available via the Apple MEDICI.TV music from smart phones. In addition, 26% of app or the iTunes program on your computer. For classical music lovers, the French distri- Canadians’ total listening time is done via www.apple.com/ca/fr/apple-music bution platform Medici.tv offers a catalog of streaming platforms. If the streaming princi- over 1800 video recordings of concerts, operas ple is always the same, some commercial plat- SOUNDCLOUD and ballets, as well as numerous documen- forms respond better than others to the par- Although it is not a major streaming platform, taries, interviews and masterclasses. The serv- ticular needs of music lovers. Here are some SoundCloud has the particularity of offering a ice also offers live coverage of concerts taking suggestions about platforms designed to meet catalog that focuses on emerging music. De- place around the globe. Subscribers can thus various preferences. signed as both a broadcast platform and a net- attend many summer events via the internet, working service, SoundCloud enables its users such as the Salzburg Festival, the Verbier SPOTIFY to promote and distribute their own music Festival or the Lucerne Festival. Although a Founded in 2006, the Swedish company Spo- projects. Initially a free service, the platform free subscription is available, it gives access tify is now one of the most popular streaming has been forced to adopt a paid formula for only to live broadcasts, and the number of platforms with 140 million registered users. much of its catalog, following pressure from views is limited. Medici’s paid options offer This success is partly explained by its vast cat- major players in the industry. If you use unlimited access to the video catalog, the abil- alog of over 30 million songs. Unlike many of SoundCloud’s free service, you have somewhat ity to watch live music on mobile devices, and its competitors, Spotify offers free access to its restricted access. If you use its Go+ subscrip- better audio and video quality. Available via services, subject to certain constraints: adver- tion, however, you enjoy access to its full Chromecast and Airplay apps or on the web- tisements periodically interrupt the listening library of 150 million tracks without advertise- site, www.medici.tv. and the selection of tracks is random within a ments. Unlike other platforms, you also have single album. However, it is possible to enjoy the right to download and upload songs and SUGGESTIONS FOR READING access without the ads by subscribing to one podcasts. The space available for uploading AND MUSICAL DISCOVERIES of Spotify’s paid packages. Of these, the fam- songs — just like audio quality — varies with Faced with the growing number of musical ily package allows several people to benefit the package. Available via mobile app or di- offerings on the major streaming platforms, it from a single subscription. The only negative rectly from the website, www.soundcloud.com. can be difficult for listeners to discover the point is that Spotify’s audio quality may vary new material that meets their preferences. from 96 KB/s to 320 KB/s, depending on the TIDAL (LSM CHOICE) Thus the streaming platforms have developed user’s account settings. Available via its To this day Tidal remains the main streaming recommendation algorithms to guide their mobile app or directly from the website, option for audiophiles in search of high fi- users toward promising music. For example, www.spotify.com. delity. A subscription-only platform, it offers Spotify offers a “Discover Weekly” tool that songs and video clips from files compiled in gives its users a weekly selection based on APPLE MUSIC lossless compression formats. For example, their listening habits. Apple Music offers a Spotify’s main competitor, the computer giant the catalog of 48.5 million songs and 175,000 similar service, as well as a streaming radio Apple, launched its own streaming platform video clips is available in ACC (320 KB/s), channel featuring popular songs of the day. in 2015, at a time when several other compa- FLAC (16-bit/44.1 kHz), and MQA (24-bit LSM nies already shared the market. Despite the equivalent/192 kHz) formats. However, it TRANSLATED BY ADRIAN RODRIGEZ. delay, Apple Music quickly found customers costs twice the price of an average streaming and has become one of the more popular plat- package to benefit from such superior sound

NOVEMBER 2017 41 sm23-3_EN_p42_Home recording_sm21-7_pXX 2017-10-31 9:07 PM Page 42 SETTING UP YOUR HOME STUDIO RECORD FOR LESS THAN $1000 by ADRIAN RODRIGUEZ

be comfortable wearing them for long periods, a factor which is often overlooked. The Sam- son SR850 stereo headphones at less than $50 are a great option considering their price. CABLES AT $60 For some musicians a cable is just a cable, so to invest $60 in cables might seem exagger- ated. However, cables are often a major source of noise and cheap cables are quite fragile. wenty years ago, making a musical record- USB AUDIO INTERFACE Thus in the long run it is cheaper to invest in ing was a very complicated and very FOR $150 good-quality ones. Pro Co AQN cables offer expensive part of the music business. Although most modern computers have an good value for money. If beyond your budget, TNowadays, thanks to technological audio card, I strongly recommend getting an then D’Addario’s Planet Waves Classic Series advances, good recording quality is avail- USB audio interface. Since it’s a home record- offers cables that are a bit cheaper and still of able everywhere, allowing almost any musi- ing, the 2-channel Focusrite Scarlett Solo MK2 sufficient quality. cian with a computer to record CD-quality USB Audio Interface for $150 should be sound. enough to record most things, but many oth- DAW SOFTWARE, ers on the market do a good job as well. It’s im- FREE OR $160–$280 MICROPHONES portant to verify that the interface has a DAW stands for digital audio workstation. To FROM $130 TO $280 built-in phantom power supply for the con- put it simply, it’s software that allows you to To simplify things we may divide microphones denser microphone. If you wish to record visualize and edit all your audio and MIDI in- into two kinds: condenser microphones, which drums or a live band, you need more than two formation at the same time. The most popular are mainly used to record vocals and live channels. The best option is often to create the free software apps are GarageBand for MAC acoustic instruments with rich sounds, and dy- rhythms with a midi controller. iOS and Audacity for Windows. Although namic mics, which are a bit more polyvalent these two programs offer a good starting point, and can be used to record percussion, guitars, USB MIDI KEYBOARD they quickly reach their limitations. Thus it is voice, and so on. CONTROLLER FOR $100–$180 a very good idea to get either Logic Pro X for The most accessible way to record tracks with Mac at $280 or Cakewalk Sonar at $160, a heavy arrangements and orchestrations is to program that runs on both Windows and Mac. use a USB keyboard MIDI-controller. It allows Before buying, it’s important to verify that you to play any virtual instrument available in your computer meets the minimum require- your library and the results are very easy to ments for the software to run smoothly. For edit, even if your keyboard skills are not par- example, Cakewalk Sonar requires at least a ticularly good. The M-Audio Keystation with 2.6GHz Intel processor or AMD multi-core either 49, 61, or 88 keys is an affordable op- processor (Intel i5 and AMD A10 APU proces- tion at $100–$180. It is surprisingly straight- sors are recommended), 4GB of RAM, and a forward and easy to use. 5GB hard drive for a minimal install, but in re- SHURE SM57 DYNAMIC MIC ality anything under a 100GB drive is asking SPEAKERS OR HEADPHONES for trouble. A good option for condenser microphones FOR $50 is the Audio-Technica AT2035 for about $150. Since most people are likely to listen to your A FINAL WORD ON It is very useful when a deep, rich but natural audio in less-than-ideal conditions — most use BUYING EQUIPMENT sound is needed, as in the case of a singer or a their computer speakers or low-quality head- All prices stated above are for brand-new cellist. For dynamic microphones I recom- phones — I suggest cutting costs by just using products. However, very good deals on used mend the Shure SM57 for $130. Indeed, if you whatever speakers you already have, unless equipment can often be found on EBay, Ama- have just money for one microphone, I rec- they are terrible. It is a better idea to invest in zon, Craigslist, Kijiji and in your local pawn- ommend this one. I have obtained great re- good headphones. Avoid headphones with a shop. If you buy used, make sure that the seller sults with it even when recording vocals, high level of compression, bass boost, or any- has had good customer reviews. And it is al- particularly rap, rock and speech, since it de- thing of that sort, because the purpose is to get ways preferable for you to try the product be- termines the right level of sound almost auto- a realistic idea of the sound. You should be fore buying, though this is obviously not matically. It is also extremely durable. able to detect all types of noise and you should possible on EBay and Amazon. LSM

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AUDIO

countryside of the Lanaudière region. Les audio kit and are the backbone of a mainly Studios Opus are located along Rivière digital audio processing chain. These L’Assomption; for the past six years, staff have preamplifiers are known for their high worked with many impressive local and transparency and ability to record audio with international artists. Given the studio’s the highest loyalty standards. versatile facilities and the beauty that attracts That said, it is not enough to have the right every musician, the studios have welcomed tools; it is important to know how to use them. singer-songwriters such as Patrick Norman Hence, artists can rely on the expertise of and Laurence Jalbert, classical orchestras, technical director Jean-François Bernard and jazz ensembles, and rock groups. producer Jacques Roy. “We aim for perfection The business started up in the early 2000s all the time,” Roy stated. Whether working on a when Lepage was toying with the idea of standard or audio recording, undertaking new building an establishment to meet the projects with the same thoroughness and technical requirements of a recording studio passion is at the core of the Studios Opus ethic. and artists’ specific needs. In 2011, the project In an industry where musicians often self- came to life after years of design that left produce, Roy recognizes the importance of LES STUDIOS nothing to chance. From the building’s “taking time to carry out projects” and “going interior design to the choice of construction beyond the music” to provide artists with a material, the studio team worked closely with memorable experience that fosters artistic an engineer to develop a structure with the development. The team consequently disregards OPUS best acoustic properties. shortcuts and pursues a custom-made approach Les Studios Opus consists of two sound that considers each artist’s specific needs. PASSION FOR AND controls, a large recording studio, three Overall, the amazing combination of know-how COMMITMENT TO ARTISTS recording booths, a meeting room, and a and friendly atmosphere remains the Studios kitchen. In addition, the studios are decked Opus trademark—or the “Opus seal,” as Roy by ARNAUD G. VEYDARIER with an impeccable interior design and work likes to say. LSM well with the rural setting. The magic happens aniel Lepage, founder and general behind this bucolic setting, however, for the www.studiosopus.com manager for Studios Opus, established studios are furnished with a set of high-qual- TRANSLATED BY DWAIN RICHARDSON one of many leading audio recording ity audio equipment for each artist. Moon D facilities in the Greater Montreal area, 3500MP preamplifiers, made by the French- this one located in an enchanting Canadian company Simaudio, are among the

Thèmes et guides : Temps des fêtes; Idées cadeaux, festivals d’hiver Le plus important Sortie : 2017-12-01 Date de tombée publicitaire : 2017-11-24 magazine de la musique Maquettes : 2017-11-27 Calendrier : 2017-11-17 et de la culture au Québec Février-mars 2018 Édition bilingue (25 000 exemplaires) • 7 numéros, 1 guide ressources des arts Thèmes et guides : L’amour, camps d’été de musique et d’arts • 25 000 exemplaires/édition Sortie : 2018-02-01 Date de tombée publicitaire : 2018-01-25 Maquettes : 2018-01-26 Quebec’s #1 Arts Magazine Calendrier : 2018-01-19 • 7 issues, 1 Arts Resource Guide • 25,000 copies/edition Avril-mai 2018 Édition bilingue (25 000 exemplaires) Thèmes et guides : Festivals www.mySCENA.org internationaux; Festivals de printemps *Thème artistique : Arts de la scène LA SCENA MUSICALE Sortie : 2017-09-01 Novembre 2017 Sortie : 2018-03-30 Date de tombée publicitaire : Édition nationale (50 000 exemplaires) Date de tombée publicitaire : 2017-08-24 2018-03-23 ÉDITION NATIONALE : 50 000 Thèmes et guides : Études supérieures Maquettes : 2017-08-25 musicales et artistiques; Académies Maquettes : 2018-03-26 exemplaires; Montréal, Ottawa- Calendrier : 2017-08-18 d’été; Audio haute-fidélité Calendrier : 2018-03-16 Gatineau, Québec, Toronto. Octobre 2017 *Thème artistique : Danse Juin-juillet-août 2018 Sortie : 2017-11-3 ÉDITION BILINGUE : 25 000 Édition bilingue (25 000 exemplaires) Édition nationale (50 000 exemplaires) exemplaires; Montréal. Date de tombée publicitaire : Thèmes et guides : La relève, Concours 2017-10-26 Thèmes et guides : Festivals canadiens *Thème artistique : Théâtre Maquettes : 2017-10-27 de musique classique et des arts Septembre 2017 Sortie : 2017-09-29 Calendrier : 2017-10-20 Sortie : 2018-06-01 Édition bilingue (25 000 exemplaires) Date de tombée publicitaire : Date de tombée publicitaire : Thèmes : La rentrée culturelle; Études 2017-09-22 Décembre 2017 - janvier 2018 2018-05-25 primaire et secondaire; Festivals Maquettes : 2017-09-25 Édition bilingue (25 000 exemplaires) Maquettes : 2018-05-26 d’automne Calendrier : 2017-09-15 Calendrier : 2018-05-12

NOVEMBER 2017 43 sm23-3_EN_p44-45_Bluetooth_headphones_sm21-7_pXX 2017-10-31 8:25 PM Page 44

AUDIO

To achieve truly superior audio quality, it is necessary to turn to codecs that permit suit- ably high transmission speeds. Possibly there is only one, the LDAC codec developed by Sony, which can reach a speed of 990 KB/s, thus restoring an audio signal of 16-bit/ 44.1 kHz in its entirety. It can even reproduce 24-bit/96 kHz quality sound, albeit with low signal degradation. That said, a good compression codec is not in itself a guarantee of good audio quality. To take full advantage of such codecs, the devices must be compatible with one another. For ex- ample, a cellular phone that supports the aptX codec must be used with a compatible audio system, otherwise the devices automatically fall back to the default SBC standard. The quality also depends on the type of file to be transmitted. If the original audio file has al- ready been compressed using a degrading codec, the audio quality must suffer, since it has to be compressed a second time as the sig- nal is transmitted to the device. BLUETOOTH 5 BLUETOOTH Announced in June 2016, the fifth iteration of the Bluetooth system offers interesting per- spectives for the audio industry. If one of the important issues with Bluetooth is its energy consumption, the latest version extends the TECHNOLOGY battery life of audio devices with a “Bluetooth Low Energy” technology. But it is mainly in HOLDS PROMISE FOR MUSIC terms of data transmission that Bluetooth 5 by ARNAUD G. VEYDARIER offers major innovation. Whereas communi- cation between devices was previously limited to “point-to-point” (device-to-device) interac- ngineered in 1994 by the Swedish offer wireless solutions that were close to ex- tions, the Mesh and Broadcast features now telecommunications company Ericsson, isting audio standards. offer the ability to link multiple devices to- Bluetooth technology is rapidly gaining Currently, the audio market is flooded with gether. As a result, it has become possible to E ground in the computer and cellular sec- products using Bluetooth technology. These create true Bluetooth wireless networks. tor. Designed as a wireless data protocol, include headphones, portable speakers, fixed This novelty is particularly interesting to this technology makes it possible to establish speakers, and even full sound chains. Al- manufacturers of wireless audio equipment, short-distance connections between various though many manufacturers insist on the who are now able to use Bluetooth technology electronic devices, eliminating the need to use audio quality of their products, they are none- to create sound chains of multiple speakers cables. Perhaps the system’s most common theless subject to the technological constraints communicating with each other. Although sys- application is to link cell phone accessories. of a system that employs sound compression tems of this type already exist, most of them Over the years Bluetooth has established itself as an operating principle. Indeed, as the band- operate on a WiFi network that does not offer as a leading technology, and it is now making width of Bluetooth devices is too weak to the longevity and ease of use that a Bluetooth its gradual appearance in the audio equip- transmit the entirety of a high-quality audio network enables. Button-type wireless head- ment market. signal, they are forced to compress the sound phones will certainly benefit from these new by means of different codecs. features. Whereas point-to-point transmission EARLY AUDIO APPLICATIONS could only carry audio data to a single listener Launched in 2002, the Plantronics M1000 AUDIO QUALITY who then had to relay the signal to a second headset was one of the first devices to exploit The SBC standard (“low-complexity subband one, Bluetooth-enabled devices are now able the audio capabilities of the Bluetooth system. codec”) is the default transmission standard to connect both sets of headphones simulta- At this stage the sound quality remained rela- for all Bluetooth devices. It allows data trans- neously. This results in an improved stability tively poor, due to low bandwidth. Indeed, the mission from 128 KB to 345 KB per second, of transmission for both connections. first version of Bluetooth technology had a depending on the quality of the radio link, af- In conclusion, Bluetooth audio devices re- data transmission speed of only 1 MB/s, giving fording a sound similar to that of a medium- main a practical solution for transmitting these devices an audio quality little better than quality MP3. audio data and delivering satisfactory per- that of a regular phone. Moving up a step we have the aptX codec, formance and sound quality. Until recently, It was not until the launch of the fourth ver- which remains very common in Bluetooth however, the technical constraints of Blue- sion of Bluetooth in 2010 that wireless audio audio products. Like SBC, the aptX is a so- tooth did not allow wireless audio devices to devices could reproduce sound quality com- called “deteriorating” compression codec, reproduce sound at a quality comparable to parable to that of a CD (16-bit/44.1 kHz). This since it degrades the starting signal to reduce that of high-fidelity equipment. That, it seems, release marked an important milestone in the its size. However, it offers better quality than is about to change. LSM history of wireless audio, as it finally gave the SBC standard, nearing the quality of a reg- audio equipment manufacturers the ability to ular CD. www.bluetooth.com TRANSLATED BY ADRIAN RODRIGUEZ

44 NOVEMBER 2017 sm23-3_EN_p44-45_Bluetooth_headphones_sm21-7_pXX 2017-10-31 8:25 PM Page 45

AUDIO HEADSETS AND EARPHONES HOW TO CHOOSE ONE by ARNAUD G. VEYDARIER

f audiophiles agree that nothing replaces Most manufacturers now offer wireless teners an unparalleled level of sound insula- the experience of a good sound chain and headsets. Older models used infrared or radio tion. This technology samples the surround- excellent speakers, such a configuration is frequencies, but current headsets mostly uti- ing noise and then emits into the auditory not suitable for all listening situations. lize the Bluetooth technology. The latter has canal, in real time, sound waves that cancel High-fidelity speakers are generally expen- the advantages of generally satisfactory audio out the noise. The listener perceives a pro- sive,I require a lot of space, and can disturb quality and a (mostly) stable signal. nounced drop in ambient noise, thus greatly people around them. That is why it is some- improving the listening experience. Note that times better to opt for headphones or ear- EARPHONES the headphones require an independent bat- phones. They represent a practical and eco- For listeners who like to listen to their music tery. nomical solution to such problems, in addi- both at home and on the move, earphones are tion to offering greater flexibility. And do note MUSICAL STYLE the “Nuraphone” below, a headset that breaks One’s preferred style of music is an important many of the usual conventions. factor in choosing headphones or earphones. While some manufacturers (such as Beats by HEADSETS Dr. Dre) praise the acoustic qualities of their Appreciated by both audiophiles and occa- products, they are not necessarily adapted to sional listeners, headphones lend themselves all musical genres. To determine this, exam- to a wide variety of situations, helped by the ine the frequency response or the extent of great number of models on the market. In the frequency spectrum that a headphone (or choosing among them, it is important to iden- earphone) can restore. That gives a good idea tify the different types of external shell or cov- of the level of change in the sound. While pop, ering, as the listening experience varies rock, and rap usually sound good with bass- greatly from one model to another. Supra- boosting devices, classical music and jazz ear headphones have an outer casing that require a high transparency of sound; other- only partially covers the ear. They cannot wise the nuances are lost. In the case of seri- completely isolate one’s ears from ambient ous music, headphones that offer a large noise, sometimes leading to the use of a listening space are preferred, as they have a high volume to compensate. On the other greater ability to spatialize the sound. The ex- hand, their small size makes them perfectly pensive K701 professional headphones from adapted to mobile listening. AKG employ such a design. The Sennheiser MM450-X headphones offer a useful balance between good quality NURAPHONE and portability. They are very comfortable, as Employing two independent sound drivers, their cushions do not exert pressure on the the Australian Nuraphone has the particular- cartilage of the ear. However, they are less ity of rendering the high and low frequencies suitable for mobile listening (as in the bus, or an interesting option. Their small size makes separately, one via an over-ear shell and one while walking), because they are relatively them ultraportable and discreet. The semi- via earphones that protrude from inside the large and heavy. They are more suitable for intra-ear phones penetrate only partially in cup. This novel design offers the listener a home listening with a computer or digital de- the ear. Despite this, they seal the entrance to sound of great clarity. The most innovative as- vice. The same kind of cushion design may be the ear canal, providing the user with effective pect, however, lies not in the hardware but found in very high-end models, such as the fa- protection against ambient noise. Prolonged rather in the Nuraphone’s ability to “tune” the mous Sennheiser HD800. listening, however, may cause discomfort and sound to individual hearing. On the assump- In addition to the type of cup or cushion, it increase the risk of hearing loss. Although tion that everyone hears differently, the Nu- is important to differentiate open from closed earphones cannot offer the audio quality of a raphone’s software automatically measures designs. Open housings have openings that let premium headset, some models do offer satis- one’s hearing characteristics and then cali- air circulate. Although they provide a lower factory performance, such as the Shure SE215. brates accordingly the frequencies sent to the degree of sound insulation, they have the ad- In-ear earphones dig deeper into the ear. As a headphone. According to the manufacturer, vantage of rendering a more transparent result, they offer superior sound insulation the same audio quality is thus guaranteed to sound. Such housings, like the PS1000e model and improved bass definition. This type of ear- all users. The headphones can be connected from the Grado company, are generally pre- phone is not suitable for everyone, and some either by a universal cable or wirelessly. In ferred by audiophiles. Closed cups offer bet- would be inconvenienced by its penetrating sum, this is a highly innovative headset that ter insulation, but they tend to make the bass feel. The MC5 model from Etymotic Research has so far garnered good reviews. The Nura- frequencies sound louder than the rest. The offers good quality at an affordable price. phone, priced at US $400, is available via its absence of air circulation inside the shell may website, www.nuraphone.com. LSM also be troublesome during long listening ses- ACTIVE NOISE CONTROL TRANSLATED BY ADRIAN RODRIGUEZ sions. Some headphones, such as the Bose QC35, in- corporate active noise cancellation, giving lis- NOVEMBER 2017 45 sm23-3_EN_p46-49_HigherEducation_sm21-3_FR_pXX 17-11-01 00:29 Page 46

2017- 2 018 HIGHER MUSICAL

To help students find information on music education, this month’s La Scena Musicale offers a guide to the EDUCATION major educational institutions in Canada. PROGRAMS OFFERED FACILITIES foremost music schools B. Mus in Performance Extraordinary facilities give dedicated exclusively to THE GLENN GOULD SCHOOL (Honours) our students an edge when performance training at the Artist Diploma Program (2-year) it comes to preparing for a post-secondary and post- The TELUS Centre for professional career. The Glenn baccalaureate levels. Our Performance and Learning The Rebanks Family Fellowship Gould School is one of the few esteemed faculty comprises and International Performance music schools in North America internationally acclaimed 273 Bloor St W, Toronto Residency Program (1-year that is integrated with a major performers, teachers, and post-graduate program; tuition- ON M5S 1W2 performing arts centre. The scholars. It provides students free with $6,000 stipend) superb facilities at The Royal with a nurturing training Phone: Students: 130 Conservatory’s TELUS Centre environment and 50% more (416) 408-2824 x322 Tuition Fees & Scholarships: for Performance and Learning one-on-one studio time than The Glenn Gould School is include Koerner Hall, Mazzoleni other major institutions. or 1-800-462-3815 able to offer EVERY student Hall, Temerty Theatre, and Students also benefit from substantial scholarship support practice and teaching studios outstanding facilities, an Fax: (416) 408-5025 for the duration of their program. available during the week and unparalleled master class [email protected] More than half of our students on weekends and holidays. program, as well as numerous receive full scholarships and annual performance ggs.rcmusic.ca all domestic students receive DESCRIPTION opportunities, including tuition support between The Royal Conservatory’s Glenn performances in breathtaking 65-100%. Gould School is one of the Koerner Hall. • PROGRAMS OFFERED Recital Hall with 2 grands. • DESCRIPTION - 3-year Double DCS in Languages and Digital Sound Design lab, recording Outstanding campus facilities, varied Cultures and Music studios, computer labs, 35 practice music programs leading to university and - 2 year DCS in Pre-university Music studios, piano workshop, 40 pianos to the professional world, weekly - 3 year Double DCS in Science and including 7 grands. concerts, annual festivals including the Music Big Band Benefit Concert. - 3 year Double DCS in Foreign • FACULTY 44 Languages and Cultures and Music • INFORMATION SESSION - 3 year Double DCS in Social Science • STUDENTS 150 Tuesday, February 6, 2018 VANIER COLLEGE and Music 821, boul. Sainte-Croix - 3 year DCS in Professional Music and • TUITION FEES Montreal, Qc, H4L 3X9 Song Techniques Quebec residents: $190 / semester General: (514) 744-7500 - 6 month AEC in Audio Recording Out of province applicants: $1,540 Heather Howes: (514) 744-7500 ext. Technology International students: $6119 6039 [email protected] • FACILITIES www.vaniercollege.qc.ca/music Vanier College Auditorium (400 seats).

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• PROGRAMS OFFERED • SPECIALIZED PROGRAMS • DESCRIPTION Bachelor’s: general, musicology, Digital music: minor, major, bachelor’s On the national level, the Faculty of performance (classical, jazz), and D.E.S.S. (graduate diploma) Music distinguishes itself by welcoming composition, writing • FACILITIES close to 327 graduate and postgraduate Master’s: musicology, ethnomusicology, Salle Claude-Champagne (952 seats), students (master’s, doctorate, graduate performance, composition, conducting two other concert halls, electroaccous- and postgraduate diplomas). Linked with Diploma of specialized graduate tic and multitrack recording studios international institutions for internships studies (D.E.S.S.): performance • FACULTY abroad. Financial aid available for all (classical, jazz), orchestral repertoire 160 (professors and instructors) levels. Large research department in Diplôme d’études professionnelles • STUDENTS: 795 musicology, popular music, performance, FACULTÉ DE MUSIQUE DE approfondies (professional advanced Undergrad: 468 accoustics, and creation, including the L’UNIVERSITÉ DE MONTRÉAL certificate, postgraduate-level): Graduate: 327 Observatoire interdisciplinaire de P.O. box 6128, Centre-ville performance, composition for film and • TUITION FEES création et de recherche en musique Montréal, Québec H3C 3J7 stage productions Full-time, per semester (undergrad) : (Interdisciplinary Observatory for Musical Doctorate: musicology, ethnomusico- Québec residents: $1 731 Creation and Research), OICRM. Tel: 514-343-6427 logy, performance, composition, Canadians (non-Québec residents) and [email protected] conducting French students: $3 691 www.musique.umontreal.ca International students: $7 923

• PROGRAMS OFFERED Music & Health • DESCRIPTION - B.Mus.: Performance (Classical or - D.M.A.: Collaborative Piano; The Faculty of Music has a great Jazz); Composition; Comprehensive Composition; Conducting; Early Music; tradition and reputation as one the (Classical or Jazz); History and Theory; Instrumental; Jazz; Opera; Piano finest institutions in North America for Music Education (Classical or Jazz) Pedagogy; Vocal; Vocal Pedagogy music studies. We host master classes, FACULTY OF MUSIC, - Diplomas: Artist Diploma; Advanced • FACILITIES lectures, and recitals given by UNIVERSITY OF TORONTO Certificate in Performance; Diploma in Walter Hall (seats 490), MacMillan renowned artists and leading scholars. Edward Johnson Building Operatic Performance Theatre (seats 815), Electroacoustic and The diversity in our course offerings is 80 Queen’s Park - M.A.: Ethnomusicology; Music Recording studios, most extensive music hard to match; jazz, chamber music, Toronto, Ontario M5S 2C5 Education; Musicology; Music Theory; library in Canada opera, Balinese Gamelan, contemporary Music & Health music, and early music, to name a few. • FACULTY 55 full-time, 150 part-time Tel: Undergrad: (416) 978-3741 - Mus.M.: Collaborative Piano; Composi- With their international careers, our Graduate: (416) 978-5772 tion; Conducting; Early Music; • STUDENTS 900 scholars, performers, and educators Fax: (416) 946-3353 Instrumental; Jazz, Opera; Piano disseminate our knowledge, skills, and Pedagogy; Technology and Digital • TUITION FEES passion for music with the community (1 academic year, full-time domestic [email protected] Media; Vocal; Vocal Pedagogy and the world. Our students participate undergraduate): $6,600 (excl. student [email protected] - Ph.D.: Ethnomusicology; Music in colloquia, conferences, concerts, fees) www.music.utoronto.ca Education; Musicology; Music Theory; recordings, and in internships.

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Morningside Music Bridge (MMB) is part of the Calgary Philharmonic Orchestra’s suite of educational programs in partnership with the Morningside Music Bridge Foundation, a not-for-profit Canadian Foundation. MMB nurtures exceptional young classical musicians on an international stage. The Program, open to classical musicians from around the world aged 12 to 18, offers an intensive, month-long round of private lessons, masterclasses, orchestra, chamber music and numerous recitals. www.mmb.international

• UNDERGRADUATE PROGRAMS • GRADUATE PROGRAMS • DESCRIPTION Bachelor of Music: Music Education, MMus in Composition Western's Faculty of Music is one of the Performance, Music Theory, Music MMus in Literature and Performance largest and top-rated university music Composition, Music History. MMus in Music Education programs in Canada. Few other schools have BA: Honors or Major in Music; Specialization MA in Music Theory the depth and breadth of programs offered in Music Administrative Studies; Major in MA in Musicology here. We offer a full range of traditional music Popular Music Studies. MA in Popular Music and Culture programs, opportunities to combine music Music Performance Diploma; Artist Diploma PhD in Music (Music Theory, Musicology, with other disciplines and new and unique Minor in Music, Minor in Dance Music Education, Composition) programs such as Music Administrative • COLLABORATIVE UNDERGRADUATE DMA in Performance Studies, Popular Music and collaborative WESTERN UNIVERSITY PROGRAMS • PERFOMANCE FACILITIES programs with business and sound recording. DON WRIGHT FACULTY OF Degree/Diploma in Music Recording Arts 400 seat theatre with orchestra pit Western is also a leader in technology and Collaborative program with Fanshawe New 250 seat recital hall computer applications in music. Over 400 MUSIC College New 50 seat recital hall concerts are presented each year. Our London, ON, CANADA, Bachelor of Musical Arts (Honors New Music Building Opened Fall 2015 facilities include a recording studio with a full- N6A 3K7 Music)/HBA (Ivey) • FACULTY 44 full time, 65 part time time technician, string instrument bank of rare Tel: (519) 661-2043 BA (Honors Specialization in Music)/HBA • STUDENTS 459 undergraduate, and valuable instruments and bows for Fax: (519) 661-3531 (Ivey) 174 graduate student use and more than 150 pianos. [email protected] Major in Music/ HBA (Ivey) • TUITION FEES (1 academic year, full-time www.music.uwo.ca undergraduate) $7,977.58

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LIFEAFTER SCHOOL? RESOURCES AND TIPS FOR YOUNG GRADUATES by MARIE-CLAIRE FAFARD-BLAIS

t the end of their school career, holding PREPARING FOR AUDITIONS BECOME AN ENTREPRENEUR a degree from the university or conser- Preparing for auditions is essential and should Finally, young musicians may enrich them- vatory, the young musician wonders: not be taken lightly. Auditions and competi- selves by developing their own projects: some A What do I do now? The possibilities are tions are an integral part of a musician’s life, take the initiative of organizing recitals with many, the choices uncertain. In a com- rejections included. In that sense, don’t ever colleagues, for example, allowing them to gain petitive environment, it is important to keep be discouraged! It is by getting feedback and experience. It may seem trivial, but organiz- our career goals in mind and, most impor- criticism that one learns to prepare ade- ing your own concerts is a good way to develop tantly, not to panic. I will try with this article quately. One must learn to see failures as op- leadership and to refine your artistic vision. to answer some questions based on my expe- portunities to learn from our own mistakes. These projects also help you to develop in riences and those of my colleagues. All auditions and competitions have their other facets of the music industry, such as Diploma in hand, it’s the beginning of a new specificities and requirements. Therefore the event management, marketing, communica- adventure. The important thing now is to find musician must be flexible. A quality demo is tions, and press relations. a source of motivation to keep improving our an essential tool for the musician, since a performances, our comfort on stage, and our number of organizations hold a pre-selection SEEK GRANTS, TEACH confidence. Our mindset should be to never round. The sites orchestrascanada.org and Learning to apply for grants is also part of the stop learning; it is essential to continue to im- yaptracker.com for singers are good tools music profession. The Quebec Music Council prove and expand one’s knowledge. to help you look around for auditions. The (www.cqm.qc.ca) offers interesting options Quebec Guild of Musicians and the Union des for the training of musicians and managers. RETURNING TO STUDY artistes also publish lists of upcoming audi- Remember, many musicians also teach. Doctoral studies can be an interesting option tions. Teaching is useful for getting to know our- if you want to teach later on at university. PhD Many musicians follow very specific rou- selves and putting into practice the knowledge programs are numerous. The site www.phd- tines to help them prepare. One must pay at- gained during our formative years. The Uni- portal.com allows you to discover and com- tention to one’s physical and mental health, as versité de Montréal now offers, for example, a pare different institutions of higher education. that will help you to give the best of yourself micro-programme in teaching musical instru- Doing research and taking lessons — even be- under stressful circumstances. Claude Web- ments, designed to give educational tools to fore you audition, with a few teachers from the ster’s Atteindre sa zone d’excellence (Achiev- musicians. This program is reserved for those schools you are interested in — is a good way ing One’s Zone of Excellence) is a reference who have completed a Bachelor of Music de- to see things more clearly. Since the chosen book to prepare for situations where perform- gree or are pursuing a Master’s degree. professor will have to support you in your re- ance stress is an issue. This book is based on The path of a young musician is constantly search, it is essential to discuss your thesis the author’s experience as a vocal coach and evolving. In this era where everything needs topic during the early lessons. the principles of neurolinguistic programming to be fast, upcoming musicians must learn to If a return to school is not in the plans, the (NLP). The author offers exercises for calm- be versatile and must know how to distinguish musician must nonetheless continue to im- ing down and understanding our reflexes and themselves from others. It is by finding their prove, to develop as an artist. For that, s/he fears. If stage fright nonetheless takes over own uniqueness that they are able to make must have a teacher whom s/he trusts. This and the feeling of not being up to it becomes their way in the musical world. may be the person who guided them during too heavy, do not hesitate to consult a psy- TRANSLATED BY ADRIAN RODRIGUEZ their university studies or someone else. Per- chologist (www.ordrepsy.qc.ca). This pro- sonally, I think it’s interesting to study with a fessional will be able to provide tools and tips brand-new teacher in order to experience a to get to know yourself better and be able to different approach and discover new facets. manage anxiety. There is no shame in asking Some musicians may feel guilty about “cheat- for help; on the contrary, it requires great ing” their former teacher. However, one must courage! not hesitate to talk to the former teacher and ask for advice.

NOVEMBER 2017 49 sm23-3_EN_p50_53 Hi Ed news2_sm21-7_pXX 2017-11-01 5:10 AM Page 50 MUSIC FACULTIES & CONSERVATORIES BRIAN CHERNEY YULI TUROVSKY THE CANADIAN SCENE COMES ALIVE

by MATHIAS ADAMKIEWICZ EMMANUEL PEDLER PHOTO GEORG SIMMEL NICOLE LIZÉE PHOTO MARC BOURGEOIS

anadian universities and centres of On October 20th, the University of Alberta composed on that occasion for the Quasar higher learning have a lot to offer this organized a concert in the memory of Yuli Saxophone Quartet will be given their world year. You can still purchase a Via Rail or Turovsky, founder of Montreal’s I Musici premiere on April 2018. The “Canada Days” at CWestJet ticket to discover this country’s Chamber Orchestra. Last May, the University McGill (November 16th to 19th) will showcase rich musical scene! Not least of which of British Columbia conferred an honorary Canadian music to celebrate the confederation’s comes our province with its music schools doctorate on pianist Jon Kimura Parker in 150 years. bustling with activity. recognition of the outstanding achievements The Music Technology Integration Lab During this academic year, McGill and Laval of this proud son of BC. Tanya Tagaq Gillis of (LITEM) at Université de Montréal has a full universities will honour two composers who Cambridge Bay also received an honorary calendar. From April 25th to 27th, Claude have marked these institutions. Brian Cherney degree from Laval University for her modern Champagne concert hall will house a digital was present during the “Illuminations” sympo- rendition of Inuit throat singing. Her work has music event: ULTRASONS. Two doctoral sium dedicated to his music on October 28 and gained attention worldwide. candidates, Julian Hoff and Pierre Lecours, 29. His 75 years were celebrated with Following a talk at UQÀM, Kent Nagano will have their pieces performed at Musimor- conferences and concerts alike. A tireless will be guest conductor of the Université de phoses and the Toronto International promoter of Canadian music himself at the Montréal faculty of music orchestra on Electroacoustic Symposium (TIES) in June Schulich School of Music, it was a matter of December 9th, to celebrate Montreal’s 375th and August of next year. At the Conservatoire course that his colleagues, musicologists, birthday and the 500th anniversary of the de Montréal, aside from the benefit concert composers and performers should pay him due birth of the Reformation. “Chasseur d’Étoiles” (November 16th), homage in and around the site of his rich McGill’s Centre for Interdisciplinary Research Véroni que Lacroix will conduct ensemble output. On November 9th, it will be Laval in Music Media and Technology (CIRMMT), in EMC+ in a concert at this year’s Vancouver’s University that honours the memory of one of partnership with the Conservatoire Festival World New Music Days, including a world its staff members, Alain Gagnon (Prix d’Europe (Germany), will have four composers (including premiere of a piece by composer Ana 1965), departed last spring, with a concert that Jimmie Leblanc for Canada) work at the multi- Sokolovic (November 14th). Take note as well includes his own compositions. concert hall of the same Conservatoire. All works that cellist Steven Isserlis and tenor Julian

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CRICOS IPC 00279B waapa.ecu.edu.au

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Prégardien will give master classes on Music) and Jonathan Goldman (Université de Coast and Alberta prairies will also resound November 29th and 30th respectively. Montréal). Worthy of attention are other with an echo of Marc-Antoine Charpentier. This year, Quebec City’s Conservatoire is recent publications: Le Quartier des specta- There is a lot to choose from for opera lovers, celebrating its 75 years of existence with cles et le chantier de l’imaginaire montréalais including Mozart’s Don Giovanni (Toronto), concerts and other events. (The making of a collective imagination: Britten’s A Midsummer Night’s Dream and Montrealer Nicole Lizée will give a compo- Montreal’s Quartier des spectacles), by Simon Offenbach’s Orphée aux enfers (UdeM), sition workshop at the University of Toronto Harel, Laurent Lussier, and Joël Thibert Donizetti’s Lucia di Lammermoor (McGill) and in January. Denys Bouliane will be at Queen’s (Presses de l’Université Laval, collection Bizet’s Carmen (Ottawa). University in Kingston in March. Banff’s Cen- “Intercultures”); and The Roots of Culture, the It goes without saying that the musical tre for Arts and Creativity is open all year long. Power of Art. The first sixty years of the season in schools and faculties includes many This year, saxophonist Jean Derome together Canada Council for the Arts by Monica chamber music and jazz concerts, not to with prize-winning musicians Don Henry Gattinger, to be released in November by mention several vocal ensembles in residence: (Grammy) and Caroline Shaw (Pulitzer) will McGill-Queen’s University Press. Greystone Singers (Saskatchewan), Pro Coro share their thoughts with the public. Michael Vancouver’s new Emily Carr University of (Banff), MacMillan Singers (Toronto). The Beckerman, specialist in Czech music, will be Arts and Design has opened its doors, making formidable Tallis Scholars’ visit to Toronto’s at UofT in December. UBC’s faculty of music its 290,000-square-meter facility and its 400- faculty of music in March is expected to be a will pursue its in-depth research on rhythm seat Reliance theatre available to students. The milestone event not to be missed. with a cycle of conferences that will span the Robert and Ellen Silverman Piano Competition The National Arts Orchestra will stop at UBC current academic year. at UBC is an opportunity for promising young with a choice of concerts and activities. Last The “Prestige” conference series organized pianists to play as soloists with the university’s October, it was up to UQÀM to host the annual by the Interdisciplinary Observatory for orchestra, all at the Chan Center for the FAMEQ congress (Fédération des Associations Research and Creation (OICRM) at the Performing Arts (November 23, 2018). des Musiciens Éducateurs du Québec). Université de Montréal has invited sociologist Baroque music is alive and well from east to If you want a change of scenery, make sure Emmanuel Pedler (École des hautes études en west in our country. The McGill Baroque to enrol in Beverly Diamond’s ethnology sciences sociales, Paris) to give four lectures Orchestra will perform Ariodante by Handel seminar at Memorial University in (October 30th to November 2nd) on the (November 9 and 11). UdeM will follow with Newfoundland this semester. She is the subject of the sociology of music. On Novem- Marc-Antoine Charpentier’s Akteon conducted world’s foremost authority on Inuit music. ber 16th, the same research centre will launch by Luc Beauséjour (23 November). Both LSM the book, Dawn of Music Semiology: Essays universities will stage Monteverdi’s Orfeu, ORIGINAL TEXT TRANSLATED in Honor of Jean-Jacques Nattiez (University Handel’s Agrippina as well as Bach’s Christmas BY THE AUTHOR of Rochester Press), a collective work directed Oratorio and Saint John Passion. The Pacific by Jonathan Dunsby (Eastman School of

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NOVEMBER 2017 51 sm23-3_EN_p50_53 Hi Ed news2_sm21-7_pXX 2017-11-01 5:10 AM Page 52

A SINGER’S TO-DO LIST FOUR TASKS TO KEEP YOU FOCUSED THIS YEAR by JENNA SIMEONOV

n top of your general plan of becoming a Personal anecdote: I once worked with a re- is to be familiar with the genre as a whole, not more educated musician, we’ve got a few ally fab tenor on Schumann’s Dichterliebe. At just the small slice that’s available to your specific tasks that are worth some de- one point, he showed me his genius idea of voice. Plus, you never know: the operas you’ll O voted time for any student (or non-stu- wrapping his head around the songs, individ- never sing in may turn out to be your dent) musician. ually and as a whole: he had re-written all of favourites. the songs like entries in a diary. It was hilari- DRILL THE TRICKY BITS ously emotional, and it was a clear reminder of MASTER A IN YOUR MUSIC what’s timeless about those texts. MUSICIANSHIP SKILL One of the skills you should take with you as You don’t necessarily have to make every Are your piano skills laughable? Do you sort you leave post-secondary education is a solid song a diary entry, but it’s an indispensible of suck at sight-reading? The first step is ad- method of learning your music. While you still skill to be able to look at the text of a song or mitting it; the more productive step is buck- have support from regular coaches and teach- aria and repeat it back in your own words. You ling down and strengthening a weak spot in ers, get specific about the steps you need to can try the “elevator pitch” approach to help your musical skills. It’s a humbling process, to learn music as quickly and as thoroughly as you sum up the song’s sentiment, but try a devote an hour a day (or more) to something possible. line-by-line “translation”, too. It’s a clear, con- you know you’re not great at, but it’s a noble You can start by identifying what slows sistent way of really understanding — and use of time. down your process: obvious culprits are nasty even identifying with — the often lofty poetry If you’re only so-so at harmonic analysis, coloratura sections, strange melodies that that comes with opera and art song. make it part of your practice time to label the don’t feel natural, and complicated rhythms. chord progressions in every piece of music you Once you know where the problems lie, you LISTEN TO OPERAS, EVEN learn. Especially in an academic environment, can get a bit scientific about trying out various IF NOT FOR YOUR VOICE there are many resources to help you improve solutions. If you’re focused on coloratura, test Particularly in the years of academia, it can your sight-reading and aural skills. Find out if out slow practice and switching up the feel as though every piece of music you listen you have a pianist friend who might be will- rhythm; if you’re drilling wacky intervals, try to should have some direct correlation to ing to trade a few piano lessons for some singing the phrase in reverse, at different things that you’re likely to sing. It’s a noble ap- singing lessons (or baked goods). speeds, and in different transpositions. proach to your extra-curricular time, but if you The point is this: if you’ve got a hole in your The goal is to make you as independent as don’t listen to operas without roles for your skill set, start patching it up on your own time, possible, so that the work you do with your type of voice, it probably means that you’re where the reward isn’t a grade, but a useful teachers and coaches will be efficient with missing out on the bigger picture. professional skill. time and money. Plus, if you develop a repu- Ladies, make a vow to listen to Billy Budd, tation for being self-sufficient and quick to Boris Godunov, Moby Dick, and other operas Jenna Simeonov is learn music, you’ll be a hot commodity on the where there aren’t a lot of female voices. Gen- the founding editor of professional scene. tlemen, settle in to a good recording of Suor Schmopera.com, a blog Angelica, La voix humaine, or Little Women. about the opera scene. PARAPHRASE A SONG Soubrettes and Rossini tenors can learn a lot IN YOUR OWN WORDS by listening to Wagner and Puccini, and larger They say that one only truly grasps a concept dramatic voices are missing out if they never when they have to explain that concept to a tune in to La Cenerentola or L’incoronazione young person. Similarly, you can test your di Poppea. understanding of the words in that song or Basically, make a point of listening to op- aria you’re learning by paraphrasing it in your eras that don’t come with potential role stud- own words. ies for you. Part of your job as an opera singer 52 NOVEMBER 2017 sm23-3_EN_p50_53 Hi Ed news2_sm21-7_pXX 2017-11-01 5:11 AM Page 53

AMBASSADEURS 2017 AMBASSADORS LA SCENA MUSICALE

Tous ces grands artistes ont décidé d'apporter leur soutien à La Scena Musicale pour que nous These great artists support and have donated to puissions continuer à réaliser la mission que nous La Scena Musicale's continuing mission to nous sommes donnée depuis des années: la promote and celebrate the arts in Canada! promotion de la musique et des arts au Canada.

« Au Québec, La « Je lis avec “La Scena Musicale is Scena Musicale beaucoup an invaluable est la seule source d'enthousiasme resource for Canadian d’information sur La Scena artists and audiences. la musique Musicale depuis We at the National sérieuse. C’est un mon enfance. Je Arts Centre appreciate élément essentiel me souviens de LSM for bringing de notre vie découper des more awareness of culturelle. » portraits the world of the arts d'artistes que to Montreal, Ottawa - DENYS ARCAND j'affectionnais particulièrement et de les and the rest of Canada.” coller dans mon casier au conservatoire « La Scena est pour me motiver à pratiquer! Merci de - ALEXANDER SHELLEY une part promouvoir les artistes d'ici et de diffuser essentielle de un magazine qui peut être aussi utile “La Scena Musicale is an excellent notre écologie qu'agréable autant pour les amateurs de magazine that gives extraordinary musicale en étant musique que les professionnels. » information to the d'abord et avant music community. tout le miroir de - MARINA THIBEAULT It's an extremely la richesse de nos useful read for réalisations. « C'est avec everybody. Long live Chaque mois, à grand plaisir et La Scena!” défaut de pouvoir assister à plusieurs beaucoup de - JOSEPH ROULEAU concerts ou écouter toutes les nouvelles fierté que parutions d'enregistrements, nous pouvons j'appuie La Scena “When any music feuilleter avec plaisir articles, calendriers et Musicale. Depuis lover picks up a copy critiques qui nous tiennent au courant de deux décennies, of La Scena Musicale he immediately ce que font nos collègues musiciens. C'est La Scena recognises the publication’s qualities, not the toujours avec fierté envers notre milieu que Musicale apporte least of which is its je lis la Scena! » un soutien generosity. Issue inestimable aux musiciens canadiens. En after issue Wah - MATHIEU LUSSIER plus de faire un travail remarquable auprès Keung Chan and his de ces derniers, la revue est devenue un team have the “I am delighted to incontournable pour tous les mélomanes à remarkable ability to be able to support Montréal, au Québec et à travers le pays. Je gather us all up La Scena Musicale, crois parler au nom de tous lorsque je dis between the cover as it continues to que nous vous sommes extrêmement and the final pages in generously reconnaissants. Sans La Scena Musicale, la a community where celebrate Canadian vie des musiciens au Canada ne serait pas we can share our passion for music and artists. Thank you la même! Merci pour tout ce que vous performance. And you know, you can feel it, for allowing me to faites pour la communauté musicale. » everyone is welcome.” remain connected with the vibrant - STÉPHANE TÉTREAULT - LEWIS FUREY musical scene in Canada!” « Appuyer La « Je suis ravie de m’associer à La Scena Scena Musicale, Musicale, qui continue à soutenir les c’est donner une artistes canadiens. Depuis plus de 20 ans, voix à la La Scena Musicale me permet de rester formidable connectée avec la scène musicale activité musicale canadienne. » d’ici. » - MICHÈLE LOSIER - DENIS GOUGEON

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EK. Espace Knox, 6215 avenue God- frey, Montreal (NDG). Udem Mus – B-421. Faculté de musique de l’Université de Montréal, salle Jean-Papineau-Couture (B-421), REGIONAL 200, ave Vincent-d’Indy, Montréal. LMDADL. La Maison des Arts de Laval, 1395 Boul. de la Concorde, ouest,, Laval. Maison.Culture NDG. Maison de la Culture Notre-Dame-De-Grace, 3755, CALENDAR rue Botrel, Montreal. MDADL. Maison des arts de Laval, 1395 Boul. de la Concorde, ouest, FROM NOVEMBER 1 TO DECEMBER 7, 2017 Laval. Visit our website for the calender of events mySCENA.org Maison Symphonique. Maison symphonique (Place des Arts), 1600 St-Urbain, Montréal. Sections page Abbreviations/Abréviations MC Maison de la culture MDY. Manoir D’Youville, 498, boul. D’Y- Montréal et environs ...... 54 arr. arrangements, orchestration O.S. orchestre symphonique ouville, Châteauguay. Québec et environs ...... 58 chef / dir. / cond. chef d’orchestre / O&Ch orchestre & choeur / orchestra & Pollack Hall. McGill University – Pol- Ailleurs au Québec ...... 59 conductor chorus lack Hall, 555 Sherbrooke West, Mon- Ottawa-Gatineau ...... 59 (cr) création de l’oeuvre / work premiere RSVP veuillez réserver votre place à treal. Radio ...... 60 CV contribution volontaire = FD freewill l’avance / pleasereserve your place MN. Monument National, 1182 Boule- Date de tombée pour le prochain numéro : donation in advance vard St-Laurent, Montréal. 20 nov. Procédure: (e) extraits / excerpts S.O. symphony orchestra Oratoire St-J. Oratoire Saint-Joseph mySCENA.org/fr/calendrier-procedure/ EL entrée libre = FA free admission x poste (dans les numéros de (Montréal), 3800 Chemin Queen Deadline for the next issue : Nov. 20 Mary, Montreal. LP laissez-passer obligatoire / free téléphone) / extension (in phone O.P. Hall. Oscar Peterson Concert Hall, Procedure: pass required numbers) mySCENA.org/calendar-instructions/ 7141 Sherbrooke Street W., Montreal. PSB. Paroisse St-Bruno, 1668 rue de Montarville, St-Bruno-de-Montarville. Udem-Laval. Campus de l’UdeM à Christ Church. Cathédrale Christ RMR. Relais Mont- Royal, 500 Mont- Laval, 1700 rue Jacques-Tétreault, Church (Montréal), 635 rue Ste- Royal E. (Sanctuaire de Saint-Sacre- Laval. Catherine Ouest, Montréal. ment, Métro Mont-Royal, Montréal. UdeM-Longueuil. Campus Long - CV. Cegep Vanier, 821, ave Ste-Crois, Bourgie. Salle Bourgie, Musée des ueuil de l’UdeM, Édifice Port-de-Mer, Montréal. beaux-arts de Montréal, 1339 Sher- 101, Place Charles-Lemoyne, Centre Cult. NDG. Centre culturel de brooke St W, Montréal. Longueuil. Notre-Dame-de-Grâce, 6400 av Mon- Claude-Champagne. Salle Claude- kland, Montréal. Champagne, 220, avenue Vincent- Collège St-Sacrement. Chapelle du d’Indy, Montréal. 2017-2018 Société d’art vocal Collège Saint-Sacrement, 901, rue Conservatoire Mtl. Salle de concert 20th Season de Saint-Louis, Terrebonne. du Conservatoire de musique de CDMDLS. Chapelle du Mont-de-La Montréal, 4750, avenue Henri-Julien, Montréal Salle, 125 boulevard des Prairies, Montréal. Laval. SDCDC. Salle de concert du Con - Bon-Pasteur. Chapelle Historique du servatoire, 475 Henri-Julien, Mont- Bon-Pasteur (Montréal), 100 Sher- réal. brooke Est, Montreal. UdeM Musique – B-421. Salle Jean- Bon-Secours. Chapelle Notre-Dame- Papineau-Couture (B-421) Faculté de de-Bon-Secours, 400 rue St-Paul Est, Musique de Montréal, 200 av. Vin- Montréal. cent d’Indy, Montréal. CCC. Christ Church Cathedral, 635 St. Salle J-Rouleau. Salle Joseph- Catherine West, Montréal. Rouleau, 305, avenue du Mont-Royal Église St-Georges. Église Anglicane Est, Montréal. St-Georges, 1001 avenue des Cana- St-François-Xa. Salle Saint-François- diens-de-Montréal, Montréal. Xavier, 994, rue Principale, Prévost. E. de la Purification. Église de la Pu- Wil.-Pel. Salle Wilfrid-Pelletier, Place rification, 445, rue Notre-Dame , Re- des Arts, 175, Ste-Catherine ouest, pentigny. Montréal. GSJB. Église Saint-Jean-Baptiste, 309, St-Patrick.Basilica. St. Patrick’s Rachel Est, Montréal. Basilica, 460 Rene Levesque BLVD W, December 10, 2017, at 3 p.m. May 6, 2018, at 3 p.m. ESJ. Eglise Saint-Joachim, 2 rue Ste- Montréal. Anne, Pointe-Claire. SHS. Station Ho. St, 1494, Ontario est, Frédéric ANTOUN Gerald FINLEY GSJ. Église Saint-Joachim, 2, rue Ste- Montréal. tenor bass-baritone Anne, Pointe-Claire, Pointe-Claire. Tanna Schulich. Tanna Schulich Hall, Église St-Famille. Église Sainte- 527 Sherbrooke St. West, Montreal. Martin DUBÉ Michael MCMAHON Famille, 560, boul. Marie-Victorin, Hector-Charland. Théâtre Hector- piano piano Boucherville. Charland, 225, boul. de L’Ange-gar- É. Sts-Anges. Église Saints-Anges, dien, L’Assomption. AIRS ET MÉLODIES SCHUBERT • TCHAÏKOVSKI 1400 boulevard St-Joseph, Lachine. Maisonneuve. Théâtre Maison - ESPAT. Eglise St Pierre Apôtre, 1201 de neuve, Place d’Arts, 175, Ste-Cather- Salle de concert du Conservatoire la Visitation, Montréal. 4750, Henri-Julien Avenue (Montreal) ine Ouest, Montréal. GSGDO. Église St-Germain d’Outre- Union Church. Union Church/ Eglise Box Office and Information ment, 28, avenue Vincent-d’Indy, Union, 24 Maple Street, Sainte-Anne- 514 397-0068 Outrement. de-Bellevue. www.artvocal.ca GSAASP. Église St.Andrew and St.Paul, VHCC. Victoria Hall Community Centre, 3415 rue redpath, Montréal. 4626 rue Sherbrooke Ouest, West- 54 NOVEMBER 2017 sm23-3_EN_p54_61_calendar_previews5_sm21-7_pXX 2017-11-01 7:32 AM Page 55

mount. film) TURANDOT de Puccini. 514- WSDAC. Westmount Seventh Day Ad- 343-6427. ventist Church, 571, Victoria Avenue, >20h. Bourgie. $18.05-33.92. Pré- Westmount. sentation d’un conte musical basé sur les mythes nordiques. NOVEMBRE / NOVEMBER 514-285-2000, opt. 4. PREVIEWS mercredi 01 Wednesday samedi 04 Saturday >13h30. UdeM-Longueuil. 14,00$. Les >16h30. CCC. Contribution volontaire. matinées d’Opéramania au Musique de Bliss, Muir, Cop- Campus Longueuil. land, Sousa, Bidgod, Claman, >19h30. Bourgie. 18.05-33.92$. Pre- Lavallé et O’Neil. 514-843-6577 mière de la sonate pour piano ext.236. d’Auguste Descarries. 514-285- >19h30. Claude-Champagne. Entrée 2000, x 4. libre. L’OUM, sous la direction de MONTRÉAL by RENÉE BANVILLE >20h. Maison Symphonique. $34-170. Lori Antounian et Jeff Domoto, L’OSM souligne le 70e anniver- étudiants au programme de saire du compositeur John doctorat en direction MONTREAL BACH FESTIVAL 2017 Adams. 1-888-842-9951. d’orchestre. 514-343-6427. The 11th Montreal Bach Festival will be held from November 17 to De- > jeudi 02 Thursday 19h30. Claude-Champagne. 12 $; cember 3. Since its launch in 2005, which featured the renowned Mu- gratuit (étudiants) – Billetterie Ad- sica Antiqua Köln ensemble among others, the Bach Festival has >19h30. Conservatoire Mtl. Pro- mission: 1 855 790-1245. Orch- continued to bring exceptional Canadian and international artists to- jection du film Le Paradis, c’est estre de l’Université de gether each year. This year’s line-up showcases four choirs with an ailleurs? par Martin Duck - Montréal (OUM) – Concert worth. 514-873-4031 poste 221 ou «Étoiles montantes». 514-343- imposing international pre- 313. 6427. sence. For their second >19h30. Bon-Pasteur. Le violoncel- >19h30. VHCC. $40. Serata d’Amore time in Montreal, the Tho- liste Friedrich Kleinhapl et le Concert avec Gino Quilico. 514- manerchor Leipzig chil- pianiste Andreas Woyke inter- 560-2331. dren’s choir performs a préteront des oeuvres de Car- >19h30. GSJ. 5-25$. Concert # 1 de prelude to the festival in a los Gardel et Astor Piazzolla. la saison 2017-2018 Billets : captivating program at the 514-872-5338. www.osjwi.qc.ca ou à la porte. Notre Dame Basilica, in- >19h30. Bourgie. 18.05-33.92$. Le 450-424-0897. cluding major sacred works trio belge Soledad offriront un >20h. Maison Symphonique. $34-170. répertoire passant de la musi- L’OSM souligne le 70e anniver- by Bach and Mendelssohn que classique à la musique (November 8). saire du compositeur John LE CHŒUR VOX LUMINIS populaire. 514-285-2000, opt. 4. Adams. 1-888-842-9951. In the opening concert at > 19h30. GSJB. $15-30. Célébrera le dimanche 05 Sunday the Maison symphonique, the Czech Republic’s Collegium 1704 will dixième anniversaire des Por- present the Mass in B minor, conducted by its founder and artistic di- > teurs de musique. 14h. Collège St-Sacrement. 5-30$. rector, Václav Luks (November 17). The Vox Luminis choir from Bel- > Une sélection de sonates de 20h. Maison Symphonique. $34-170. gium will perform an original program celebrating the Reformation L’OSM souligne le 70e anniver- grands virtuoses sous le règne saire du compositeur John de Louis XV. 450-492-0898. and Martin Luther, including works from several members of the Bach Adams. 1-888-842-9951. >14h. Église St-Georges. Contribution family (November 20). The Ensemble Jacques Moderne from France >20h. Udem Mus – B-421. Entrée libre. volontaire. Premières mondiales will perform compositions by three masters of the Baroque era, Mon- Récital de piano – Classe de de musique de Desjarlais, In- teverdi, Scarlatti, and Bach (November 30). Dang Thai Son. 514-343-6427. gari et Côté. 514-866-7113. The Montreal Symphony Orchestra, a partner of the festival, pairs >20h. Église St-Famille. $41. >15h. Bon-Pasteur. Le Trio de Mont- Bach with Mozart in a concert conducted by Masaaki Suzuki, with L’orchestre symphonique de réal interprétera les trois soloists Martin Fröst (clarinet), Timothy Hutchins (flute), and Rashaan Longueil interprétera des oeu- dernières sonates de Debussy Allwood (organ) (November 21 and 23). In the festival’s postlude, Kent en compagnie des étudiants vres de l’époque baroque au Nagano and the OSM present Magnificat by J.S. Bach and the Christ- XXe siècle. 450-466-6661. de l’école de musique Schulich. 514-872-5338. mas Oratorio by Saint-Saëns (December 12 and 13). vendredi 03 Friday >15h. Maison.Culture NDG. Fête et Saint Joseph’s Oratory will host six concerts presented by the Bach >17h30. Tanna Schulich. Musical 5 à recueillement aux influences Festival, from November 5 to December 3, including the St. John Pas- 7. baroques et scandinaves. 514- sion by Arvo Pärt (November 21) and “Noël chez les Bach” (December > 19h30. Pollack Hall. McGill Wind Or- 872-2157. 3) with McGill’s Cappella Antica choir, directed by Jean-Sébastien Val- chestra with Quasar / Or- >15h. PSB. $39. L’orchestre sym- lée and narrated by Albert Millaire. You can hear Alcée Chriss — the chestre à vent de McGill avec phonique de Longueil inter- 2017 winner of the Gérard-Coulombe Bach Prize of the Canadian In- Quasar. prétera des oeuvres de ternational Organ Competition — in a concert hosted by French mu- >19h30. Udem Mus – B-421. 12,00 $. l’époque baroque au XXe siè- Opéramania (projection de cle. 450-466-6661. sicologist Gilles Cantagrel (November 26). www.saint-joseph.org J.S. Bach’s wonderful œuvre, the Goldberg Variations, will be pre- sented in two performances: the first by Nick van Bloss on piano at Bourgie Hall (November 18) and the second by violinist Axel Strauss, GrandG rraa n d ConcertC o n c e r t violist Victor Fournelle-Blain, and cellist Anna Burden at St. John the Evangelist Church (November 22). Yet another masterpiece, the SUZ EI LEBLA CN : Sonatas and Partitas for Solo Violin will be interpreted at Bourgie Hall by French-Albanian violinist Tedi Papavrami, who plays a 1727 LA VEVEIEI EÉLL DE NOËL – DE LA FRANCER À L’ACADIE Stradivarius loaned by the Louis Vuitton Foundation (December 2). CONCE ASCLRT IS QUE DU MO EDN W/ ORLD CLA ACISS L CONCERT Ensemble Caprice and the Studio de musique ancienne de Montréal Ég esil Sa -tni Joach ,mi av2 S. ai -etn An -etnioP,en Cl eria will collaborate for the festival’s concluding concert, a performance of the six cantatas from Bach’s Christmas Oratorio, with soprano Anne- Vendredi 8 décembre / Friday, December 8 - 20:00 Marie Beaudette, mezzo-soprano Maude Brunet, tenor Philippe Gagné, Bi /stell Ti :stekc $18 & 01$ dis, nop leib s au / a av ilab ale :t and baritone Clayton Kennedy. Directed by Matthias Maute and An- drew McAnerney. Bourgie Hall, Dec. 3. www.festivalbachmontreal.com Ce Slerutlucertn t trawe Ha ll Cu larutl Ce -036415ertn 1220 NOVEMBER 2017 55 sm23-3_EN_p54_61_calendar_previews5_sm21-7_pXX 2017-11-01 7:32 AM Page 56

VIVA ESPAÑA! BY >16h30. Christ Church. Contribution samedi 11 Saturday MUSICA CAMERATA MONTRÉAL volontaire. Premières mondiales >15h. CDMDLS. $24.85-27. Ces con- The second concert in de musique de Desjarlais, In- certs animés de musique de gari et Côté. 514-866-7113. Musica Camarata’s 48th chambre incluent une causerie season is devoted to lundi 06 Monday et un léger goûter en compag- Spanish composers: Felip >13h30. UdeM-Longueuil. 14,00 $. Les nie des musiciens. 450-978- Pedrell (Catalonian gui- matinées d’Opéramania au 3666. >16h30. Christ Church. Contribution tarist), Manuel de Falla, Campus Longueuil. volontaire. Rachmaninov: Élégie Joaquín Turina, Enrique mardi 07 Tuesday op. 3 no. 1, Études-Tableaux op. Granados, and Ernesto >13h30. Udem-Laval. 14,00 $. Les 39 no. 5, etc. 514-843-6577 ext. Halffter, whose short trio matinées d’Opéramania au 236. suite Hommages will Campus Laval. >18h. Bon-Pasteur. $25-35. Muscia have its Canadian pre- >19h30. Bourgie. 22.40-42.62$. Camerata Montréal – VIVA miere. With Dominique Danza! présente les musiques ESPAÑA ! 514-489 8713. Labelle (soprano), Berta espagnoles jouées dans le >19h30. Pollack Hall. Opera McGill: MUSICA CAMERATA MONTRÉAL Rosenohl (piano), Luis Paris baroque. 514-285-2000, x4. Ariodante. >20h. Centre Cult. NDG. Un voyage >19h30. Tanna Schulich. Journées Grinhauz (violin), Sylvain Murray (cello), and Jean-Willy Kunz (pump sur l’île de cet auteure-com- des cuivres. organ). Bon Pasteur Historical Chapel, November 11, 6 pm. positrice-interprète. 514-872- >19h30. Wil.-Pel. 59,75-154,75$. La www.cameratamontreal.com 0777. Ceneretola-Opéra de Montréal. 514-985-2258. LA CRÈME DE LA CRÈME WITH APPASSIONATA mercredi 08 Wednesday >19h30. Claude-Champagne. 12 -35$. > With its new musical director, Jean-Philippe Tremblay, the Appas- 19h30. EK. $10-80. Autour de la Brahms et Wagner à l’OSJM. sionata Chamber Orchestra will present a musical tale written for the flûte présente Mozart Flute 514-645-0311. Quartets/Quatuors de Mozart >20h. Maison Symphonique. $65-145. “Family Sundays at the Orchestra” series by young adult novelist Math- pour flûte. 5149099037. ieu Boutin. Hailing from Italy, France, and Germany, these artists L’Orchestre Mariinsky et leur >19h30. EK. $10-80. Quatuors de chef d’orchestre Valery Gergiev make up “la crème de la Cremona”. In collaboration with the Arte Mu- Mozart pour flûte et effectuent un retour à Mon- sica Foundation. Bourgie Hall, November 12 at 2 pm. cordes/Mozart Flute Quartets. tréal avec un répertoire varié. www.appassionata.ca 514-909-9037. 1-888-842-9951. jeudi 09 Thursday >20h. St-François-Xa. 35 $ moins de GERHARDT AND HELMCHEN AT THE LMMC >10h30. Maison Symphonique. 12 ans 12 $. Trio Nomad’s Land : Since performing for the $31.50-80. L’OSM interprétera musique marocaine… une in- first time as a soloist in des oeuvres de Chostakovitch, vitation au voyage. 450-335- 2007 at the Ladies’ Bartok et Sokolovic. 1-888-842- 3037. Morning Musical Club, 9951. dimanche 12 Sunday German cellist Alban >19h30. Pollack Hall. Opera McGill: >14h. Église St-Georges. Contribution Gerhardt has estab- Ariodante. volontaire. Concours de compo- lished himself as one of >19h30. Bourgie. 18.05-33.92$. Dirigé sition LAUDEM. 514-866-7113. the great cellists of our par le directeur artistique et « >14h. Bourgie. 0-17.39. Des instru- maître du mouvement per- time. He mesmerizes ments rares et précieux fab- pétuel » (d’après le Figaro) riqués par les plus grands ever-growing audiences Thierry Pécou, l’Ensemble Vari- thanks to his infallible luthiers sont les vedettes de ce ances évoque ses racines conte musical animé par la musical instinct, intense françaises lors d’une soirée de comédienne Pascale Mont- emotion, and tremen- musique pour des petites com- ALBAN GERHARDT MARTIN HELMCHEN petit. 514-285-2000x4. dously natural stage posantes : violon, violoncelle, >14h30. Conservatoire Mtl. 10$. Schu- presence. He will join the LMMC for the fifth time in a program fea- clarinette, piano, saxophone et bert / Medtner Des premières turing works by Bach, Mendelssohn, Shostakovich, and Debussy. Pol- flûte. 514-285-2000x4. lueurs au déclin du roman- lack Hall, November 12 at 3:30 pm. vendredi 10 Friday tisme. 514-873-4031. > Winner of the Clara-Haskil competition in 2001, German pianist >19h30. Pollack Hall. Opera McGill: 14h30. Maison Symphonique. $34- Martin Helmchen has been drawing attention since his first record- Ariodante. 108. L’OSM interprétera des ings and has won over music lovers from many major international >19h30. Christ Church. $15-30. Une oeuvres de Chostakovitch, Bar- tok et Sokolovic. 1-888-842-9951. stages. After his first concert in Quebec at the Centre d’arts Orford in méditation sur notre époque > en musique du 15e siècle à au- 15h. MDADL. $20-45. l’Opéra 2015, he will debut with the LMMC at Pollack Hall, December 3 at bouffe du Québec présente 3:30 pm. www.lmmc.ca jourd’hui. Cathedral Singers, Patrick Wedd, conductor. 514- l’opérette Le Baron Tzigane de Johann Strauss jr. 450-667-2040. 843 6577, local 236. > ECM+ — WORLD NEW >19h30. Tanna Schulich. Brass Days 15h. Centre Cult. NDG. Hommage MUSIC DAYS REPRISE / Journées des cuivres. aux fondateurs, premiers Conducted by Véronique Lacroix, >19h30. Union Church. $15-20. Réci- bâtisseurs de la ville de Mon- the ECM+ brings the concert tréal. 514-872-0777. tal piano solo. 514-697-8015. > presented earlier this year in >20h. Maison Symphonique. $62.09- 15h30. Pollack Hall. $50, $20 stu- dents (26 yrs. and under). Violon - Vancouver to the Conservatoire 152.47. Concert présenté dans le cadre du 18e édition du Fes- celliste allemand, CDs chez de musique de Montréal. Their Hyperion. 514-932-6796. audience will hear Pesma, writ- tival du monde arabe. 514-842- 2112. mardi 14 Tuesday ten in 2007 for the ECM+ by Ana > ECM+ PHOTO: ALVARO VOSQUEZ 20h. Maison.Culture NDG. Un spec- >11h et 16h30. Tanna Schulich. 25. Sokolović, as well as Evta, her tacle rafraîchissant et désin- newest violin concerto. Their exciting program also features recent Bach avant dodo. 514.935.3933. volte. 514-872-2157. >19h30. Pollack Hall. Journées des works by Gzegorz Pieniek (Poland), Martin Rane Bauck (Norway), and >20h. MDADL. $20-45. l’OBQ pré- cuivres. Iñaki Estrada (Spain) and soloists Andréa Tyniec (violin) and Krisztina sente l’opérette Le Baron Tzi- >19h30. Wil.-Pel. 59,75-154,75$. La Szabó (mezzo-soprano). Conservatoire de musique de Montréal con- gane de Johann Strauss jr. Ceneretola-Opéra de Montréal. cert hall, November 14 at 7:30 pm. www.ecm.qc.ca 450-667-2040. 514-985-2258.

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>19h30. SDCDC. $13,5-26,5. Rendez- Variations Goldberg de J. S. NOVEMBER AT THE ARTE MUSICA FOUNDATION vous incontournable de la Bach. 514-989-9668. Quatuor Van Kuijk, a young French quartet which has been lauded for musique contemporaine inter- their unique “style, energy and risk-taking,” will perform a diverti- nationale. 514-524-0173. dimanche 19 Sunday mento and a quartet by Mozart that verges on Debussy’s distinctive >20h. Centre Cult. NDG. Expérience >14h. Hector-Charland. $29,13-52. visuelle et sonore qui donne Beatles symphoniques avec String Quartet. November 15 at vie à la musique et à l’image. Antoine Gratton,Marc Hervieux 7:30 pm. 514-872-0777. et Rick Hughes. 450-589-9198 #5. Three more renowned en- >14h. Église St-Georges. Contribution sembles will take the spotlight mercredi 15 Wednesday volontaire. Musique de Haydn et in the days that follow. First up > 19h. Maison Symphonique. $10-127. Brahms. 514-866-7113. is Tafelmusik, one of the L’OSM, sous la direction de >14h. CV. Lecture à vue Cammac- Nikolaj Znaider, interprétera Montréal. 514-695-8610. world’s leading Baroque or- les plus grandes oeuvres de >15h. Bourgie. 20.75-39 $. Bach Et chestras, who will present its Tchaïkovski en compagnie du Graupner Réunis. 514-285-2000 multidisciplinary concert “J.S. QUATUOR VAN KUIJK PHOTO: ADRIEN VECCHIONI violoncelliste Steven Isserlis. #4. Bach: The Circle of Creation”, 1-888-842-9951. >15h. Bourgie. 200$. 30 Ans Déjà ! which combines narration, music, and projections. Its narrator guides >19h. Maison Culture NDG. La ciné- 514-843-5881. the audience through the fascinating world of the artisans (instrument aste Bettina Ehrhardt accom- >15h. LMDADL. $20-45. l’Opéra makers, papermakers, among others) who contributed to the blos- pagne l’OSM et Kent Nagano. bouffe du Québec présente soming of Bach’s musical genius. November 21 at 7:30 pm. 514-872-2157. l’opérette Le Baron Tzigane de Next, the incomparable London Handel Players illustrate the deep >19h30. Tanna Schulich. Orchestre Johann Strauss jr. 450-667-2040. de jazz de McGill I. >15h. ESPAT. 25-35$. Fêtons! Une ties between J.S. Bach, C.P.E. Bach, and Telemann. This concert is pre- >19h30. St-Patrick.Basilica. $15-25. année de célébration, Musique sented as part of the Montreal Bach Festival on November 29 at 7:30 Missa votiva de Zelenka. 514- chorale canadienne. 514-243- pm. For more than 40 years, the Tallis Scholars have made an integral 803-6646. 1303. contribution to the English choral tradition. In 2003, the ensemble >19h30. Bourgie. 18.05-33.92$. Le mardi 21 Tuesday became a living component of a Janet Cardiff installation at the Musée quatuor à cordes français Van d’art contemporain. In the performance of Spem in alium by Thomas >07h30. Bourgie. 26.74-51.32$. Ex- Kuijk interprètera des quat - Tallis, forty singers were recorded separately and played back on forty traits de cantates, sonates et uors de Mozart et de Debussy. speakers — a truly unforgettable experience. Their current program 514-285-2000x4. suites orchestrales ainsi que des Concertos brandebour- highlights the impact of Josquin des Prés and Heinrich Isaac, two mas- jeudi 16 Thursday geois et des Variations Gold- ters of the Franco-Flemish Renaissance. December 5 at 7:30 pm. >11h. Bourgie. $20-33. L’orchestre berg interprétées par Violinist Andrew Wan and pianist Charles Richard-Hamelin will in- de chambre I Musici inter- Tafelmusik. 514-285-2000, opt. 4. terpret all ten of Beethoven’s Sonatas for violin and piano at Bourgie prétera des oeuvres pour >20h. Maison Symphonique. $31.50- Hall. This musical odyssey will begin with Opus 30, composed in 1802 cordes de l’Europe du Nord 200. Les membres du jury du and dedicated to Russian Tsar Alexander I. December 6 at 7:30 pm. tout en commémorant le 150e concours OSM, le chef d’orch- www.mbam.qc.ca/concerts du Canada. 514-982-6038. estre Masaaki Suzuki, le clar- >19h30. SHS. 10-20. Sylvain PIcard inettiste Martin Fröst et le flûte et sa guitare à la Station Ho.St. solo de l’OSM Timothy I MUSICI — A TRIBUTE TO ITS ORIGINS This program, con- >20h. Maison Symphonique. $31.50- Hutchins, présenteront des I MUSICI DE MONTRÉAL 150. L’OSM, sous la direction de oeuvres de Mozart et de Bach. cocted by musical Nikolaj Znaider, interprétera 1-888-842-9951. director Jean- les plus grandes oeuvres de >20h. Maison.Culture NDG. Un jazz Marie Zeitouni and Tchaïkovski en compagnie du qui intègre adroitement des performed by the violoncelliste Steven Isserlis. influences orientales, Cordes du Nord, is 1-888-842-9951. africaines, rock. 514-872-2157. a retrospective of vendredi 17 Friday mercredi 22 Wednesday the cornerstones of >19h. Maison Symphonique. $50-80. >19h30. Maison Symphonique. I Musici, paying Ouverture du Festival Bach de $34.49-165.56. Collaboration tribute to the ori- Montréal avec l’ensemble entre l’Orchestre Métro- gins of its founder, vocal et instrumental tchèque politain, la contralto Marie- Yuli Turovsky. Collegium 1704. 514-842-2112. Nicole Lemieux, le pianiste Most of the com- > 19h30. Bourgie. 26.74-51.32$. En- Alexandre Tharaud et le violon- posers featured in this program for strings hail from countries that touré de musiciens québécois, celliste Jean-Guihen Queyras. le nouveau directeur musical 514-842-2112. border on the Baltic Sea: Sibelius (Finland), Pärt (Estonia), Dag Wirén des Violons du Roy, Jonathan (Sweden), and Grieg (Norway). The ensemble will also play a com- Cohen, propose sa vision d’œu- jeudi 23 Thursday missioned work by composer Julien Bilodeau, who became close to vres immortelles signées Bach >19h30. MN. Régulier 45 $ / Aîné 35 $ the orchestra after several collaborations. Bourgie Hall, November 16 et Telemann. 514-285-2000x4. / 30 ans et moins 20 $. Nicandro e at 11:00 am and 6:00 pm. Henry Purcell and Benjamin Britten will >20h. LMDADL. $20-45. l’Opéra Fileno, Opéra pastoral de Paolo share the stage with Bach in the “Douce dissonance” concert, con- Lorenzani. bouffe du Québec présente ducted by Jean-Marie Zeitouni. Purcell’s Chacony in G minor and Brit- >20h. Maison Symphonique. $31.50- l’opérette Le Baron Tzigane de ten’s Serenade for tenor, horn, and strings will be presented as part of Johann Strauss jr. 450-667-2040. 200. Les membres du jury du concours OSM, le chef d’orch- the Bach Festival, with tenor Julian Prégardien and horn player Nadia samedi 18 Saturday estre Masaaki Suzuki, le clar- Côté. Bourgie Hall, November 27 at 8:00 pm. imusici.com >15h. LMDADL. $20-45. l’Opéra inettiste Martin Fröst et le flûte bouffe du Québec présente solo de l’OSM Timothy VIOLONS DU ROY — LA VISION DE COHEN l’opérette Le Baron Tzigane de Hutchins, présenteront des With soloists Vincent Lauzer (recorder) and Mathieu Lussier (bas- Johann Strauss jr. 450-667-2040. oeuvres de Mozart et de Bach. soon), the new musical director of Les Violons du Roy, Jonathan > 16h30. Christ Church. Contribution 1-888-842-9951. Cohen, shares his vision of the works of Bach and Telemann. First, the volontaire. Musique de Schu- audience will enjoy orchestral works by Bach: Brandenburg Concerto mann, Debussy, Schubert, vendredi 24 Friday Janacek. 514-843-6577 ext.236. >18h30. Bourgie. Concert en lien No. 3 in G major and Suite No. 1 in C major. Each soloist will then >19h30. Bourgie. $20-55. Le pianiste avec le Concours OSM Manuvie. take his turn performing works by Telemann: Suite in A minor for Nick van Bloss interprétera les 1-888-842-9951. recorder, strings, and continuo and Concerto for flute and bassoon in F major.Bourgie Hall, November 17, 7:30 pm. www.violonsduroy.com NOVEMBER 2017 57 sm23-3_EN_p54_61_calendar_previews5_sm21-7_pXX 2017-11-01 7:32 AM Page 58

THE SHOCKWAVES OF POULIN & MARCHAND >19h30. Pollack Hall. Orchestre >19h30. Maison Symphonique. $55. Montreal’s seasoned piano duo, Jean Marchand and Brigitte Poulin, symphonique de McGill. Des oeuvres qui ont marqué la > present “Onde de choc”, a representation of the indelible impressions 20h. E. de la Purification. $20-32. carrière d’Angèle Dubeau et L’histoire de la musique avec que le public a adorées et a re- of the last century left in their memory: infectious rhythms, ritualistic Buzz Cuivres. 450-582-6714. demandées. 514-842-2112. dance, and intimate poetry. This diverse program includes exciting works by David Lang, John Adams, Denis Gougeon, Morton Feldmann samedi 25 Saturday samedi 02 Saturday and Igor Stravinsky. Maison de la culture Plateau-Mont-Royal, No- >14h. GSAASP. $10,70. Un conte de >13h30. Bon-Secours. $28. Célébrez vember 19 at 3:00 pm. Nicolas Ellis parsemé de musi - Noël avec des concerts à la www.accesculture.com/emplacement/maisondelacultureduplateaumontroyal que de chambre de l’époque Chapelle Notre-Dame-de-Bon- baroque. Secours. 514-282-8670 x223. >16h30. Christ Church. Contribution >16h30. Christ Church. Contribution THE CANADIAN GUITAR QUARTET’S VISITATION volontaire. Musique de Monte- volontaire. Musique de Noël par The Canadian Guitar Quartet verdi, Buxtehude, Debussy et les membres de la commu- (CGQ), made up of guitarists Bach. 514-843-6577 ext.236. nauté Christ Church. 514-843- Julien Bisaillon, Renaud Côté- >19h30. Pollack Hall. Orchestre 6577 ext. 236. Giguère, Bruno Roussel and symphonique de McGill. >18h30. Bourgie. $20-50. La vio- Louis Trépanier, has toured ex- dimanche 26 Sunday loniste Antje Weithaas inter- tensively in Europe as well as prétera les partitas et sonates >14h. Maison Symphonique. $17-45. de Bach pour violon. 514-989- North and South America. Since Concert inspirée de l’histoire its beginnings in 1999, it has in- 9668. de Don Quichotte. 1-888-842- >19h. Pollack Hall. Prix d’art vocal spired many standing ovations, 9951. Wirth. establishing itself as one of the >14h. Église St-Georges. Contribution >19h30. Maison Symphonique. $55- LE QUATUOR DE GUITARES DU CANADA foremost guitar ensembles in the volontaire. Musique de Rach - 65. Des oeuvres qui ont marqué world. The CGQ has performed with orchestras across Canada and has maninoff et Medtner. 514-866- la carrière d’Angèle Dubeau et recorded three albums critically acclaimed at home and abroad. You 7113. que le public a adorées et a re- > can hear them perform at the Église de la Visitation on November 19 14h. Bourgie. $22.40-42.62. La Fon- demandées. 514-842-2112. dation Arte Musica poursuit la at 3:00 pm. www.accesculture.com/emplacement/ahuntsiccartierville >19h30. WSDAC. $10-25. Un concert présentation en concert de l’in- de Noël invitant le public à tégrale des cantates sacrées chanter avec le CSL. 514-483- LES BORÉADES — A PASTORAL OPERA de J. S. Bach. 514-285-2000, x 4. 6922. In a coproduction with the Nouvel Opéra, Les Boréades de Montréal is >15h. É. Sts-Anges. Gratuit. À la >20h. St-François-Xa. 35 $; moins de putting on a production of Nicandro e Fileno, a pastoral opera by Paolo venue de Noël. 514-249-7911. 12 ans 15 $. Quartom. quatre Lorenzani based on the Italian libretto by Philippe-Julien Mancini. >15h. MDY. 99$. Un panorama de voix sublimes dans un mag- This work was written in 1681 for Louis XIV and performed at the la musique sacrée en Nou - nifique répertoire de Noël. 450- Fontainebleau Castle. Directed by Francis Colpron, the ensemble will velle-France. 450-699-8686. 335-3037. bring together sopranos Pascale Beaudin and Suzie LeBlanc, tenors lundi 27 Monday >20h. ESJ. $20. Choral concert: Nils Brown and Philippe Gagné, baritones Dominic Côté and Jean- >00h. Tanna Schulich. Orchestre de Fauré’s Requiem; Gounod’s Marc Salzmann, as well as actress Stéphanie Brochard and Baroque jazz de McGill II. Gallia; Christmas music. 514- > 697 2952. dancer and choreographer Marie-Nathalie Lacoursière, who also pro- 22h. Bourgie. $20-52.50. Inter- > prétation d’oeuvres de J. S. 20h. GSGDO. 15-25 $. Noël en poly - vides stage direction. Monument-National, November 23 at 7:30 pm. phonie à St-Martial-de-Limoges, www.boreades.com Bach et Benjamin Britten. 514- 982-6038. XII s. Voix de femmes. 514-894- 2764. REJOICING WITH ARION mardi 28 Tuesday Arion has created a program especially for the Montreal Bach Festival. > dimanche 03 Sunday 19h30. Bourgie. $20-50. Le ténor > Alexander Weimann will conduct the delectable Suite in E minor from Julian Prégardien et la pianiste 14h. Église St-Georges. Contribution volontaire. Compositions de Telemann’s Tafelmusik collection, one of whose movements is fittingly Tamar Halperin interpréteront Alain Payette. 514-866-7113. titled “Réjouissance”. Bach’s Missa brevis in A major will follow in the des oeuvres de différentes > époques. 514-989-9668. 14h. RMR. $5 (12 ans & moins) – $10 concert’s second half. Soloists: soprano Hélène Brunet, alto Krisztina (régulier). 19h30 Relais Mont- Szabó, tenor Philippe Gagné, and bass David McFerrin. Bourgie Hall, mercredi 29 Wednesday Royal. 5-10$. Amahl & the Night November 24 at 7:30 pm. www.arionbaroque.com >17h15. Salle J-Rouleau. 18-24. Visitors 438 381-5879. 438-381- Plongez dans un monde de lé- 5879. PRO MUSICA — DAWN UPSHAW & BRENTANO gendes, où des figures >14h. Bourgie. $14.56-26.96. Valérie Internationally recognized as an mythiques prennent vie! 514- Milot et Antoine Bareil nous of- interpreter of both operatic and 845-4108. frent un moment de sérénité > avant le tourbillon des Fêtes. concert repertoires — mastering 19h30. Pollack Hall. Schulich en 514-285-2000x4. everything from the sacred concert: Ryan Truesdell. >19h30. Bourgie. $18.05-33.92. Les >15h. GSJB. 30-49$. The complet works of Bach to the innovative London Handel Players jouer- Bach’s Christmas Oratorio. 514- sounds of contemporary cre- ont un programme de musi - 375-6054. ations — American soprano que baroque sur des >15h. Maison Culture NDG. Un livre, Dawn Upshaw joins forces with instruments d’époque. 514-285- une voix, un piano, quelques the Brentano String Quartet in 2000x4. photos…. 514-872-2157. > this concert of the Pro Musica jeudi 30 Thursday 15h. Bon-Secours. 28. Célébrez Society. Founded in 1992, the Noël avec des concerts à la >19h30. Bourgie. $20-40. Inter- Chapelle Notre-Dame-de-Bon- Brentano Quartet has been res- prétation de musique sacrée Secours. 514-282-8670 x223. BRENTANO STRING QUARTET ident at the Yale School of Music de différents époques. 514-989- >15h30. Pollack Hall. $50, $20 stu- PHOTO: JÜRGEN FRANK since 2014. The quartet is 9668. dents (26 yrs. and under). Pianiste known for its faultless technique and unrivalled musicality. This pro- allemand, Crédit Suisse Award gram features two quartets, one each by Mozart and Schoenberg, plus DÉCEMBRE / DECEMBER en 2006. 2 ECHO Klassik. 514-932- Respighi’s Il tramonto for voice and string quartet and Webern’s 6796. vendredi 01 Friday >15h30. Oratoire St-J. Cappella An- Bagatelles (Opus 9). Theatre Maisonneuve, December 4 at 8:00 pm. > 19h30. Pollack Hall. Ensemble de tica à l’Oratoire. promusica.qc.ca musique contemporaine de TRANSLATED BY ISABEL GARRIGA McGill. 58 NOVEMBRE 2017 sm23-3_EN_p54_61_calendar_previews5_sm21-7_pXX 2017-11-01 7:32 AM Page 59

Palais Montcalm, 995 place D’You- ville, Ville de Québec. Salle Henri-Gagnon – ULaval. OTTAWA Salle Henri-Gagnon (Pavillon L-J. by RICHARD TODD Casault, Université Laval), 1055, av- enue du Séminaire, Québec. S. Raoul-Jobin. Salle Raoul-Jobin, CANTATA SINGERS OF OTTAWA — Palais Montcalm, 995 place D’You- FAURÉ REQUIEM 8 ville, Québec. Artistic Director Andrew McAnerney will lead a candlelight program TTDLCU. Théâtre de la Cité universi- of Mozart, Bach and Fauré. The centrepiece of the programme will be taire, 2325, de la Terrasse, Québec. Suzie LeBlanc - La Veillée de Noël : 8 déc., Gabriel Fauré’s Requiem (1893 version) with an orchestra of strings, 20h, à l’église Saint-Joachim. 514 630-1220. NOVEMBRE / NOVEMBER horns, harp and organ. Other works will include Mozart’s “Misericor- 01 19h30. S. Raoul-Jobin. $23-65. Pour dia Domini” and Bach’s Brandenburg Concerto No. 6, performed by lundi 04 Monday souligner le 500e anniversaire the orchestra. November 4, 8:00 pm - 9:30 p.m. St. Joseph’s Church. >20h. Maisonneuve. 35$ min - 65$ de la réforme protestante, un www.cantatasingersottawa.ca max. Dawn Upshaw se joint au programme centré sur le Brentano String Quartet pour choral luthérien de Bach à SEVENTEEN VOYCES — une soirée mémorable. 514- Mendelssohn. 1-877-643-8131. HAYDN’S MASS IN TIME OF WAR 842-2112. 02 19h. Église St-Martyrs-Can. 10-15$. Seventeen Voyces’s 2017- Les Amis de l’orgue de Québec 2018 season will begin dra- mardi 05 Tuesday présentent: Un concert-con- >07h30. O.P. Hall. $5.00. University férence sur Louis Vierne et la matically with a presenta- Choir & Chamber Choir. musique symphonique. tion at St. Matthew’s of >10h. Tanna Schulich. Choeur de 04 19h30. S. Raoul-Jobin. $23-65. Des Franz Joseph Haydn’s Mass chambre Schulich. oeuvres qui ont marqué la in Time of War on Remem- >19h30. Bourgie. $26.74-51.32. Les carrière d’Angèle Dubeau et brance Day. Paired with the Tallis Scholars interprèteront que le public a adorées et a Mass will be Kevin Reeves’ des motets de la polyphonie redemandées. 418-641-6040. Somewhere in France: franco-flamande. 514-285- 04 19h30. Salle Henri-Gagnon – ULaval. Love letters from the 2000x4. 0$. Prix de piano classique trenches, a multimedia >20h. Maison Symphonique. $31.50- Gérard-Boivin. 418-656-7061. 04 19h30. Musée de l’Amérique franco. event about the First World 200. L’Orchestre symphonique SEVENTEEN VOYCES de Montréal jouera la première 10-15$. Pallade Musica plays War. Haydn’s mass will be d’une création de Matthew Telemann, CPE Bach, McKin ley, accompanied by a large orchestra, including strings, woodwinds, trum- Ricketts et accompagnera le vi- Bouchard. pets, horns, and drums. Joining Seventeen Voyces will be Matthew oloniste Leonidas Kavakos 05 14h. S. Raoul-Jobin. $23-65. Des Larkin’s new choir, the Caelis Academy Ensemble, and a local quartet ainsi que le film The Railrod- oeuvres qui ont marqué la of superb singers, including soprano Maghan McPhee, mezzo-sopra- der. 1-888-842-9951. carrière d’Angèle Dubeau et no April Babey, tenor Dillon Parmer and baritone Joel Allison. Nov. 11, > 20h. Maison Culture NDG. Ce jeune que le public a adorées et a 7:30 pm, St. Matthew’s Anglican Church. www.seventeenvoyces.ca trio jazz livre avec une fougue redemandées. 418-641-6040. et une chimie indiscutables. 08 20h. S. Raoul-Jobin. $23-65. 514-872-2157. Danza! présente les musi - ENSEMBLE ques espagnoles jouées dans VARIANCES mercredi 06 Wednesday le Paris baroque. 418-641-6040. Led by artistic director >19h30. O.P. Hall. Free admission. 08 20h. Grand Théâtre Qc. $23-83.95. and “master of perpet- Jazz Choir. Concert de l’Orchestre sym- ual movement” (Le Fi- > 19h30. Bourgie. $18.05-33.92. Le vi- phonique de Québec en com- garo) Thierry Pécou, oloniste Andrew Wan et le pi- pagnie du pianiste Bertrand aniste Charles Richard-Hamelin Ensemble Variances Chamayou. 1-877-643-8131. calls on their French interpréteront les trois pre- 09 10h30. Grand Théâtre Qc. $23-47.95. roots for an evening of mières sonates de l’opus 30 de Concert de l’Orchestre sym- Beethoven. 514-285-2000, x 4. phonique de Québec en com- music in motion jeudi 07 Thursday pagnie du pianiste Bert rand arranged for small L’ENSEMBLE VARIANCES forces: violin, cello, >19h30. O.P. Hall. Free admission. Chamayou. 1-877-643-8131. clarinet, piano, saxophone and flute. They feature Ravel, Milhaud, De- Jazz Improvisation I & II. 09 19h30. Salle Henri-Gagnon – ULaval. >20h. Maison Symphonique. $31.50- 0$. Deux altos plus... Hom- bussy’s intimately layered Prélude à l’après-midi d’un faune, and 200. L’Orchestre symphonique mage à Alain Gagnon. 418-656- Stravinsky’s narrative piece L’Histoire du soldat (The Soldier’s Tale). d. 1-888-842-9951. 7061. November 11, 7:30 pm, Dominion-Chalmers United Church. 11 19h30. Salle Henri-Gagnon – ULaval. www.ensemblevariances.com 0$. Quatuor Arthur-LeBlanc. 418-656-7061. 11 20h. Salle d’Youville. $23-32. Dans NATIONAL ARTS CENTRE ORCHESTRA le cadre de la commémora- Violinist and conductor Pinchas Zukerman returns for a guest ap- tion du centenaire de la pearance with the orchestra he led for 16 years. He will be the soloist Grande Guerre, la pianiste in concertos by Beethoven and Haydn, then he will mount the podium russe Nataliya Labiau et ses to conduct Beethoven’s Symphony No. 2, written at a time when Musée de l’Amérique franco. invités vous présenteront ce Beethoven’s deafness was becoming more pronounced, but cheerful Chapelle du Musée de l’Amérique concert mettant à l’honneur francophone, 2, côte de la Fabrique, and animated all the same. November 23-24, 7 pm, Southam Hall, Na- des œuvres marquantes de tional Arts Centre. www.nac-cna.ca Québec. Debussy, Rachmaninov et Église St-Martyrs-Can. Église Elgar. 418-641-6040. Saints-Martyrs-Canadiens, Rue Père- 12 14h30. Grand Théâtre Qc. $15-22. MICHEL BROUSSEAU Marquett, Québec. Un concert pantomime bur- To open its 2017–2018 concert season, the Ottawa Classical Choir Grand Théâtre Qc. Grand Théâtre lesque en hommage au génie (OCC)/New World Philharmonic Society will perform Vivaldi’s Gloria de Québec, 269, boulevard René- comique de Charlie Chaplin. 1- along with Schubert’s Mass No. 4 in C major, both under the baton of Lévesque Est, Québec. 877-643-8131. Michel Brousseau. November 25, 8 pm, Dominion-Chalmers United Salle d’Youville, Salle d’Youville. Church. www.ottawaclassicalchoir.com NOVEMBER 2017 59 sm23-3_EN_p54_61_calendar_previews5_sm21-7_pXX 2017-11-01 7:32 AM Page 60

15 19h30. Salle Henri-Gagnon – ULaval. Centre Juliette-Lassonde. Centre 0$. Concert jazz. 418-656-7061. des arts Juliette-Lassonde de Saint- TORONTO 16 14h. S. Raoul-Jobin. $44-63. En- Hyacinthe, 1705, rue Saint-Antoine, by GREGORY FINNEY touré de musiciens québé- Saint-Hyacinthe. cois, le nouveau directeur CDMDG. Conservatoire de musique musical des Violons du Roy, de Gatineau, 430 Boul. Alexandre- TANIA MILLER AND THE Jonathan Cohen, propose sa Taché, Gatineau. ROYAL CONSERVATORY ORCHESTRA vision d’œuvres immortelles Foyer G-Beaudoin. Foyer Gilles- The first Canadian Maestra to become Music Director of a major sym- signées Bach et Telemann. Beaudoin, 374, rue des Forges, Trois- phony orchestra, Tania Miller takes the podium to lead the Royal Con- 418-641-6040. Rivières. servatory through a program that includes works by Prokofiev and 16 19h30. Salle Henri-Gagnon – ULaval. FHQBDLSDT. Foyer Hydro-Québec de Stravinsky. Prokofiev’s Piano Concerto no. 2 will be played by pianist 0$. Concert de piano. 418-656- la salle Desjardins-Telus, 25, rue Sae Yoon Chon. The Royal Conservatory Orchestra is comprised of 7061. Saint-Germain Ouest, Rimouski. 16 20h. S. Raoul-Jobin. $53-76. En- Trois-Riv. Maison de la culture de members of the Glenn Gould School’s Performance Diploma and Artist touré de musiciens québé- Trois-Rivières,1425, Place de l’Hôtel- Diploma programs. Nov. 24, Koerner Hall. www.rcmusic.ca cois, le nouveau directeur de-Ville, Trois-Rivières. musical des Violons du Roy, MDADD. Maison des arts Desjardins RODELINDA WITH VOICEBOX: Jonathan Cohen, propose sa Drummondville, 175, rue Ringuet, OPERA IN CONCERT vision d’œuvres immortelles Drummondville. One of Canada’s oldest opera companies continues it 2017-18 season signées Bach et Telemann. Musée Bruck. Musée Bruck, 225, rue at the Jane Mallett Theatre (St. Lawrence Centre for the Arts) with a 418-641-6040. Principale, Cowansville. single performance of G. F. Handel’s beloved opera. Conducted by 22 12h. Salle Henri-Gagnon – ULaval. MEDLARF. Musée de l’Amérique fran- Toronto Masque Theatre’s Larry Beckwith and featuring the VOICE- 0$. Concert de clavecin et de cophone, 2, côte de la Fabrique, guitare. 418-656-7061. Québec. BOX: Opera In Concert Chorus under the direction of Robert Cooper 22 19h30. Salle Henri-Gagnon – ULaval. SBMCDM. Salle Bouchard-Morisset / they are joined by soprano Christina Raphaëlle Haldane counter tenor 0$. Concert de piano jazz. 418- Conservatoire de musiuqe, 22, rue David Trudgen, and tenor Charles Sy. November 26. 656-7061. Sainte-Marie, Rimouski. www.operainconcert.com 25 19h30. Salle Henri-Gagnon – ULaval. SPMCPPL. Salle Pierre-Mercure, Cen- 0$. Concert de chant. 418-656- tre Pierre-Péladeau, 300, boul De PHILIP CHIU AT 7061. Maisonneuve Est , Montréal. MUSIC TORONTO 26 14h. Salle Henri-Gagnon – ULaval. Théâtre V-Terrebonne. Théâtre du Making his Toronto recital debut at 0$. Concert de guitare. 418-656- Vieux-Terrebonne, 866, rue Saint- the St. Lawrence Centre, pianist Chiu 7061. Pierre, Terrebonne. 26 19h30. Salle Henri-Gagnon – ULaval. plays a program of Ravel, Rachmani- 0$. Concert des classes de NOVEMBRE / NOVEMBER noff, Schubert and Lizst. A chamber cordes. 418-656-7061. 03 20h. Centre Juliette-Lassonde. 36-46$. music pianist, Chiu is the creator and 29 19h30. Salle Henri-Gagnon – ULaval. Angèle Dubeau. 1-855-778-3388. director of the Collaborative Piano 0$. Ensemble de guitares. 418- 05 14h30. MEDLARF. 5-25. Concert : Program at the Domaine Forget Inter- 656-7061. Stéphane Fontaine (clarin - national Festival. He was the first re- 30 19h30. Salle Henri-Gagnon – ULaval. ette) et Nathalie Tremblay cipient of the Prix Goyer – Canada’s 0$. Concert de piano. 418-656- (piano). 418-643-2158. largest prize for an emerging classical 7061. 06 19h. SBMCDM. Entrée libre. Les artist. Nov. 28. Jane Mallett Theatre. 30 20h. S. Raoul-Jobin. $47.50-67.50. Lundis du Conservatoire. 418- www.music-toronto.com Dernier concert d’une série de 727-3706. concerts présentant l’inté- 09 19h30. MDADD. 33-55 $. L’OSD et grale des concertos pour Mathieu Lussier vous pré - HOME ALONE WITH TSO orgue de Handel. 418-641-6040. sente: Dans l’ombre de One of the holiday offerings that the Toronto Symphony Orchestra Mozart. 819-477-1056. (TSO) has on the docket this December are performances of John DÉCEMBRE / DECEMBER 12 14h. FHQBDLSDT. $4 café inclus. Williams’s (Jurassic Park, Superman, Star Wars) score to the 1990 02 19h30. Salle Henri-Gagnon – ULaval. Les dimanches musicaux. 418- blockbuster holiday classic starring Macaulay Culkin. The orchestra 7-13$. Atelier de musi que 727-3706. plays along to the actual film about a young boy who gets forgotten baroque. 418-656-7061. 12 19h30. Théâtre V-Terrebonne. $29-40. when his family takes a Christmas vacation. This seems like it will be 03 14h. Salle Henri-Gagnon – ULaval. Une comédie fantaisiste sur le a great night out for the whole family. Nov. 30, Dec. 1, 2 at 7:30PM and contribution volontaire. Chœur vieillissement. 450-492-4777. des aînés de l’Université 13 19h. SBMCDM. Entrée libre. Les December 2 at 2PM, Roy Thomson Hall. www.tso.com Laval. 418-656-7061. Lundis du Conservatoire. 418- 04 19h30. TTDLCU. 7-13$. FaMUL 727-3706. TAFELMUSIK PRESENTS MESSIAH jazz. 418-656-7061. 17 20h. Théâtre V-Terrebonne. $33-45. This perennial Holiday favourite returns with Conductor Ivars Taurins 04 20h. S. Raoul-Jobin. $23-86. Szy- Deux heures de Feydeau cam- at the helm Tafelmusik Orhcestra and Chamber Choir invites soprano man owski, Bartók et Mes - pées dans le Paris des années Joanne Lunn, countertenor James Laing, tenor Rufus Müller, baritone siaen par Jansen, Fröst, 50. 450-492-4777. Brett Polegato for four performances at Koerner Hall. A special fifth Thedéen, Debarque!. 417-641- 19 02h30. SPMCPPL. 25-45$ et 100$ performance is the annual a Sing-along conducted by “Herr Handel” 6040. (VIP). Gala d’opéra des Jeunes himself; grab your score and head on over to Massey and see how much 05 19h30. TTDLCU. 7-13$. Voix du Ambassadeurs Lyriques. 514- jazz. 418-656-7061. 684-7287. fun it is to sing the Hallelujah Chorus with almost three thousand 07 19h30. Salle Henri-Gagnon – ULaval. 19 10h30. Musée Bruck. 6-12$. Un people. December 13, 14, 15, 16 at 7:30PM with the sing-along on 0$. Concert de musique nou- voyage, une voix, une guitare. December 17 at Massey Hall at 2PM. www.tafelmusik.org velle. 418-656-7061. 450-263-6666. 19 14h. FHQBDLSDT. $4 café inclus. THE TORONTO CONSORT PRESENTS NAVIDAD: Les dimanches musicaux. 418- A SPANISH CHRISTMAS 727-3706. This holiday offering presents Spanish Christmas music from both 19 15h. Théâtre V-Terrebonne. $37-50. sides of the Atlantic. The “liveliest Christmas concert in town” featur- Sa dernière série de concerts ing motets by Victoria and Guerrero as well as villancicos from Latin au Québec. 450-492-4777. 20 19h. SBMCDM. Entrée libre. Les America. This will be a lively night of exuberant music to help you and Centre Récollets. Centre d’art des Lundis du Conservatoire. 418- yours ring in the Christmas Season. December 8, 9, at 8PM and De- 727-3706. cember 10, 3PM. Trinity St. Paul’s. www.torontoconsort.co Récollets – St. James, 811, rue des Ursulines, Trois-Rivières. 60 NOVEMBER 2017 sm23-3_EN_p54_61_calendar_previews5_sm21-7_pXX 2017-11-01 7:32 AM Page 61

23 19h. SBMCDM. Entrée libre. classe NOVEMBRE / NOVEMBER dies; 20h30-21h Sur deux notes; Brassard; 21h Mélomanie, or- de percussion de Gabriel mer. 5h et dim. 21h Voix Ortho- chestres et solistes, avec Claire Dionne. 418-727-3706. 01 20h. École La Salle. $16-39. Lemon doxes; dim. 10h Chant grégorien; Chainey; mer 21h Jazzmen, avec 24 17h. SBMCDM. Entrée libre. Con- Bucket Orkestra launches 12h-12h30 Sur deux notes; 13h- Klaude Poulin, Éric Delisle cert de classe. 418-727-3706. their new release in Ottawa. 13h30 Dans mon temps; 15h30-16h CKIA Québec 88,3FM. www.meduse. 26 11h. Foyer G-Beaudoin. $0-22. 613-234-6306. Musique traditionnelle; 20h30-21h org/ckiafm. 418-529-9026 L’imaginaire inépuisable de 04 20h. S. Odyssée. $50. Collabor- Sur deux notes (reprise de 12h); MetOp Metropolitan Opera interna- Debussy, Rachmaninov et ation between the Gatineau 21h-22h à pleine voix; 22h-23h Jazz; tional radio broadcasts, all with the Fauré. 1 866 416-9797. Symphony Orchestra and Je- dim. 6h-7h30 Chant grégorien; 17h- MetOp O&Ch; live from New York 27 17h. SBMCDM. Entrée libre. Con- unesses musicales du 18h Petites musiques pour; 22h-23h on CBC R2 / diffusés sur SRC ICImu cert de classe. 418-727-3706. Canada. 819 243-2525. Chant choral; 23h-24h Sans fron- SRC Société Radio-Canada. radio- 27 19h. SBMCDM. Les Lundis du 10 20h. WUC. Voluntary contribution. tière; et pendant la nuit, reprises canada.ca. 514-597-6000: ICImu Conservatoire. 418-727-3706. Divertimento Orchestra Fall des émissions du jour ICI Musique: Montréal 100,7FM; Ot- 30 17h. SBMCDM. Entrée libre. Con- Concert Nov 10/11 Woodroffe CJFO station communautaire fran- tawa 102,5FM; Québec 95,3FM; cert de classe. 418-727-3706. United, Ottawa. 6137304499. cophone, Ottawa-Gatineau. Uniq- Mauricie 104,3FM; Saguenay- 30 19h. SBMCDM. Entrée libre. Con- 12 11h. M. du Citoyen. $23-55. Violin - uefm.ca. Dim 8h-12h Chez Lac-St-Jean 100,9FM; Rimouski cert de classe. 418-727-3706. ist David Stewart joins pianist Gau th ier, musique classique, avec 101,5FM. Lun-ven 7h-8h30 La Élise Desjardins and cellist Ca- François Gauthier, fgauthier@ mélodie de bonne heure (portion DÉCEMBRE / DECEMBER role Sirois with Schubert. 819- uniquefm.ca classique) avec Marie-Christine 02 14h. Théâtre V-Terrebonne. 37-50$. 771-6454. CJPX Radio Classique. cjpx.ca. 514- Trottier; lun-jeu 20h-22h Toute The complet Bach’s Christmas 15 10h. Conservatoire de Gatineau. $5- 871-0995. Montréal 99,5FM. une musique musique classiques, Oratorio. 1 866 404-4777. 10. Masterclass with guitarist Musique classique 24h/jour, 7 avec Marie-Christine Trottier; sam 02 19h30. CDMDG. $15-30. musique Grégoire Gagnon. 819-772-3283. jours/semaine 7h-10h, dim 7h-8h30 Café, Mozart pou guitare et clavecin. 819- 16 18h30. SSMBCC. $60-60. An CKAJ Saguenay 92,5FM. www.ckaj. et compagnie, dim 8h30-10h De 328-0634. Evening of Beauty: Fashion org. 418-546-2525. Lun 19h Musi - tout choeur (musique chorale), avec 02 20h. Théâtre V-Terrebonne. $37-50. show to live opera. 613-238- que autour du monde, folklore in- Isabelle Poulin, dim 10h-12h Car- L’Oratorio de Noël de J.S Bach, 6063. ternational, avec Claire Chainey, netsAL Dans les carnets d’Alain par deux ensembles gag- 17 14h. Conservatoire de Gatineau. $5- Andrée Duchesne; 21h Radiarts, Lefèvre, avec Alain Lefèvre; dim 12h- nants de prix JUNO. 450-492- 10. Masterclass with saxo- magazine artistique, avec David 15h Chants Libre à Monique, avec 4777. phonist Jean-Pierre Zanella. Falardeau, Alexandra Quesnel, Monique Giroux; dim 19h-23h 03 11h. Centre Récollets. $13-32. Aux 819-772-3283. Alain Plante; 22h Franco-Vedettes, PLOP! Place à l’opéra!, avec Sylvia étoiles. 1 866 416-9797. 18 12h30. Conservatoire de Gatineau. chanson québécoise et française, L’Écuyer (webdiffusion sam 13h- 04 17h. SBMCDM. Entrée libre. Con- $5-10. Masterclass with violin- avec Audrey Tremblay, Nicolas 17h, en direct pendant la saison du cert de classe. 418-727-3706. ist Olivier Brault. 819-772-3283. McMahon, Gabrielle Leblanc; mar MetOp; rediffusion à la radio dim 04 19h. SBMCDM. Entrée libre. Les 25 19h30. Park. Ud. Ch. $10 to $15. Eu- 19h Prête-moi tes oreilles, musique 19h); O&Ch orchestre et choeur Lundis du Conservatoire. 418- ropean Soundscape. 613-282- classique, avec Pauline Morier- VPR Vermont Public Radio. www. 727-3706. 8135. Gauthier, Lily Martel; 20h Bel Canto, vpr.net. 800-639-6391. Burlington 06 14h. Trois-Riv. $17. Le Messie de 25 20h. MUC. $14.50-29.50. The chant classique d’hier à aujour- 107.9FM; can be heard in the Mon- Haendel. 1 866- 416-9797. winds of the Ensemble Prisme d’hui, avec Klaude Poulin, Jean treal area. 07 17h. SBMCDM. Concert de and mezzo-soprano Renée La- classe. 418-727-3706. pointe present an evening of 07 19h. SBMCDM. Entrée libre. Con- great German music. 819-243- cert de classe. 418-727-3706. 8000. 30 19h30. GSP. $5-15. The Conser - PETITES ANNONCES vatoire de musique de Gatin - CLASSIFIED ADS eau to their first concert of the series Les grands con- certs. 819-772-3283. À VENDRE / FOR SALE FOR SINGERS, SPEAKERS, ACTORS, INSTRUMENTS À VENT : vente, réparation, TEACHERS , projection, resonance, elocution DÉCEMBRE / DECEMBER location et accessoires. 1-866-528-9974. and tone of your voice. Ancestral vocal tech- 01 19h30. GCDCGD. $5-15. The Con- www.veraquin.com CDMDG. Conservatoire de musique nique. All levels and styles. ser vatoire de musique de CLASSICAL RECORD AND CD COLLECTIONS www.belcantovoicestudio.com de Gatineau, 430 boul. Alexandre- Gatineau to their first concert WANTED. Minimum 1000 total units. Aaron COURS TROMPETTE, TROMBONE. 30 ans taché , Gatineau. of the series Les grands con- École La Salle. École secondaire 416-471-8169 or [email protected]. RECHERCHE d'expérience +. Skype: 30$; domicile: 40$. 1e certs. 819-772-3283. COLLECTIONS DE DISQUES ET CD publique De La Salle, 501 Old St. leçon gratuite. Herb Bayley. 03 13h30. CDMDG. 10$-40$. concert CLASSIQUES. Minimum : 1000 disques. [email protected] 514-703-8397 Patrick Street, Ottawa. jeune public guitare et Aaron 416-471-8169 ou [email protected]. GSP. Église Saint-Paul, 26 chemin clavecin. EMPLOIS / HELP WANTED Eardley, Gatineau. MUSIC FOR SALE: For full orchestra and La Scena Musicale seeks student interns or GCDCGD. Grande Chapelle du Collège string orchestra, scores and parts. coop students for Fall 2017. Full-time for 12 Dominicain, 96 Empress Avenue, Ot- RADIO Ensemble music, teaching methods for weeks. Web editor. Web Programmer. strings, chamber music scores. 240 works in [email protected] or www.mySCENA.org tawa. CBC Canadian Broadcasting Corpo- all. Benjamin Stolow 514-486-7857; MUC. Mackay United Church, 39 Duf- [email protected] ration. cbc.ca. 514-597-6000, 613- La Scena Musicale seeks volunteer ferin Road, Ottawa. 724-1200, 866-306-4636. R2 Radio M. du Citoyen. Maison du Citoyen, PRINTING SOLUTIONS: Looking to print translators with an interest in music and Two. Ottawa 103.3FM, Montréal flyers, postcards, rack cards, brochers and the arts. [email protected]. 25 rue Laurier, Gatineau. 93.5FM. SATO Saturday Afternoon Park. Ud. Ch. Parkdale United posters, etc. Let La Scena Musicale help you. at the Opera We know printers and can get you a good La Scena Musicale seeks volunteer writers Church, Ottawa, 429 Parkdale Ave, CIBL Radio-Montréal 101,5FM. price. [email protected]. across Canada to review concerts, events Ottawa. cibl1015.com. Dim 19h30-21h, and CDs. [email protected]. SSMBCC. Sala san Marco Banquet & Classique Actuel, L’actualité de la COURS / LESSONS Conference centre, 215 Preston st, COURS DE GUITARE (tous niveaux, tous La Scena Musicale seeks bilingual ad sales musique classique, avec Chris - styles), approche pédagogique efficace. Ottawa. tophe Huss rep. Hourly, commission. [email protected]. S. Odyssée. Salle Odyssée, 855 Prof. d’expérience diplômé (Maîtrise en CIRA Radio Ville-Marie. radiovm. Musique), NDG (près métro Vendôme). Éric boulevard de la Gappe, Gatineau. com. 514-382-3913. Montréal Lemieux (514) 597-0621 P, EDILMLFYWNFLWTILFYTBFIML, Z WUC. Woodroffe United Church, 207 91,3FM, Sherbrooke 100,3FM, Woodroffe Ave, Ottawa. Trois-Rivières 89,9FM, Victoriaville 89,3FM. Lun-ven 6h-7h Musique 20$ / 140 caractères; 6$/40 caractères additionnels sacrée; 10h-11h Couleurs et mélo- Tél.: (514) 948-2520 / [email protected] NOVEMBER 2017 61 sm23-3_EN_p62-63_Pierre_Dury2_sm21-7_pXX 2017-11-01 5:55 AM Page 62 PHOTO : MARC BOURGOEIS PHOTO Pierre Dury PhotograPher of Quebec’s “free Years” by Natasha beaudiN PearsoN

ooking back on his career spanning over had an apartment nearby, and I always saw The Police while they were in the studio, went five decades, Pierre Dury’s face lights up at girls coming out of there. I thought to myself, on tour with Claude Dubois, hung out with the memory of the countless moments he ‘Being a photographer must be fun because Pagliaro and Ginette Reno, and ‘fell in love’ has experienced and immortalized: “I’ve you can meet a lot of different people: singers, with the singer Marjo “before she became L photographed so many interesting people. actors, girls, the pope…’ So I bought myself a Marjo.” I had a blast during every single shoot.” Among Nikon and started taking pictures.” “That’s the environment I lived in,” Dury the people that have stood in front of his lens He quickly took a liking to it and eventually recalls. “I was in the world of rock ‘n’ roll, of are iconic musicians such as Robert Charlebois, got hired by Photo-Vedettes, a popular maga- nights that end at 5 in the morning… Back in the Rolling Stones, and Led Zeppelin, as well as zine then owned by Québecor. Inspired by those days, it was always a party; everything notable Québécois politicians like Jean Richard Avedon’s and Irving Penn’s photo- was wild.” Chrétien, Robert Bourassa, and René graphs in Vogue magazine, Dury brought their He also branched into the world of film Lévesque. He has shot Céline Dion’s wedding, distinctive touch of glamour whenever he was photography, thanks in part to Donald John Lennon and Yoko Ono’s famous Montreal tasked to shoot the actresses, models, and Suther land. In 1972, Dury had heard rumours bed-in, and countless others. His pictures offer other stars of the Quebec entertainment that the filmmaker Claude Fournier was a privileged and intimate access to rare, milieu. “I had a style they hadn’t seen before,” planning on shooting a movie set in spontaneous, and even historic moments. says Dury. “People liked it, and that’s how I got Saskatchewan and starring Sutherland. Being a photographer was not a career that introduced to the world of showbiz.” Thoroughly impressed by the latter’s Dury considered in his youth, preferring He started getting freelance jobs by rubbing performance in MASH, Dury decided to knock instead the visual arts. After graduating from shoulders with industry insiders – and by on Fournier’s door. After multiple attempts at Montreal’s École des Beaux-Arts, he met the impressing them with his work. He met Guy getting in contact with him, Dury finally painter Jean-Paul Mousseau, who at the time Latraverse, nicknamed ‘the father of Quebec managed to meet Fournier, who hired Dury on was in the process of founding one Montreal’s show business,’ who asked him to shoot 1 fois the spot. “He tells me, ‘So, apparently you first disco nightclubs. Mousseau offered him 5, the quasi mythical 1976 concert that took want to shoot my movie?’” Dury remembers. to work as the club’s music and lighting tech- place on Mount Royal and reunited Quebec “I said yes. He says, ‘Well, we’re leaving in 3 nician. It is in the world of nightlife that Dury greats Robert Charlebois, Gilles Vigneault, weeks. There’s a room booked for you in developed an interest in photography. “One Claude Léveillée, Jean-Pierre Ferland, and Saskatoon; production will take 3 months.’ day, this guy shows up to the club, taking pic- Yvon Deschamps. He produced Diane That was my first movie.” tures of everybody with his little Nikon. He Dufresne’s first album covers, took shots of

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Following this “exciting” and “fantastic” Despite the financial insecurity that comes experience, Dury continued taking on film with his job, Pierre Dury has no regrets jobs throughout his career (he currently has because photography has allowed him to meet 125 film credits to his name). Although Alien a myriad of interesting individuals from a Thunder was his favorite experience in the wide variety of backgrounds. “The photogra- cinematic field, Gilles Carle’s Maria Chap de - phers that made money worked in advertising laine was also a highlight, as were jobs that agencies and shot golfers, yachts, food, and allowed him to travel abroad. whatever,” he concludes. “Me, I didn’t make a These days Dury spends most of his time penny but I had the time of my life.” LSM painting and rarely accepts photography contracts, as he admits not having the energy The exhibition Les années libres de Pierre Dury will or the assistance required to compete with run from November 29 to January 14 at Repentigny’s “the younger generation.” Dury says, “I try to Centre d’art Diane-Dufresne. do a masterpiece every time. It takes a certain ville.repentigny.qc.ca/cadd kind of motivation to always want to surpass www.pierredury.com yourself, to learn and to innovate, especially given that job opportunities for photogra- phers are limited in Quebec and that photog- raphy is not highly valued as an art form here.” Nevertheless, Dury still takes pleasure in taking portraits of individuals he admires. Quick aNswers He invites them to his house, where he has set up a quaint 9 ft by 9 ft studio comprised LSM: If you had to define your career in one picture, which one would it be? of a few lights and minimalistic black and Alternatively, what is your favourite picture that you’ve taken? white backgrounds. “Jean Chrétien came PD: Probably my portrait of René Lévesque, because it gave me a lot of notoriety. It’s pretty over, Pauline Marois stopped by recently, much the only portrait that I sell and people talk to me about it all the time. It’s so rare, so spur- and so did Louise Arbour (she’s really of-the-moment… He has the expression of a guy who’s saying to himself, ‘Damn, how are we impressive!),” says Dury. “They all come going to do this?’ It’s not my favourite picture though, because I don’t really have any. However, here because they know I take good pictures if I had to bring one on a desert island, it would probably be a photo of my two granddaughters. and put them at ease.” And how exactly does he manage to do this? LSM: Do you prefer a certain type of camera? “It’s easier said than done, but I try to make Yes, 35 mm, because it’s so quick. them forget that they’re in front of a camera. You engage in conversation with them, you LSM: Is there a person you would love to photograph whom you haven’t already? listen, you talk about everything and Yes, Robert Lepage. Personally, I think he’s the best artist Quebec has ever produced. anything. For example, with Jean Chrétien we chatted about the queen. I asked him, ‘how did LSM: What advice would you give to aspiring photographers who want to pursue a you manage to make her laugh? We never see career in photography? her laughing!’ So he’s talking to me, happy to I think the first thing is that you need the passion, the flame. You also have to be sociable: you tell an anecdote; meanwhile, I’m pressing on can’t be shy or always stay in your corner. And you have to understand that you won’t suc- the shutter, clicking away. Sometimes, I put ceed overnight. You have to work hard, consistently… though luck certainly plays a big role. the camera aside and we continue talking.”

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