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2008 www.music.mcgill.ca/musimars
Lundi 3 mars au vendredi 7 mars 2008 Monday, March 3 to Friday, March 7, 2008
Ensembles Cappella Antica, Valerie Kinslow, directrice Cappella McGill, Peter Schubert, directeur Chanteurs d’Orphée, Peter Schubert, directeur Corno di Caccia Ensemble, Denys Derome, répétiteur McGill CME (Contemporary Music Ensemble), Denys Bouliane, directeur McGill DCS (Digital Composition Studio), Sean Ferguson, directeur McGill Percussion Ensemble, Aiyun Huang, Fabrice Marandola, directeurs McGill Wind Symphony, Alain Cazes, directeur Schulich String Quartet, André Roy, répétiteur Ucello, Matt Haimovitz, répétiteur
Collaboration spéciale Société de musique contemporaine du Québec, Walter Boudreau, directeur artistique
Solistes Mira Benjamin, violon Rogers Covey-Crumb, ténor (Hilliard Ensemble, Londres) Denys Derome, cor (Orchestre symphonique de Montréal) Dom Richard Gagné, chantre (directeur du Chœur de l’Abbaye de St-Benoît du Lac Memory of et ancien directeur du Chœur de l'Abbaye de Solesmes) Matt Haimovitz, Chloé Dominguez, violoncelles Ages Quenched: Kyoko Hashimoto, Sara Laimon, Julia den Boer, pianos (The Book of Days) Aiyun Huang, Fabrice Marandola, percussion Hank Knox, clavecin Shawn Mativetsky, tabla - Julie Lebel, harmonium Ingrid Schmithüsen, Iris Luypaers, sopranos La Mémoire Erika Donald, t-Stick soprano - Fernando Rocha, t-Stick ténor - Xenia Pestova, rulers des âges: Jacinthe Riverin, piano (soliste SMCQ) - Alain Trudel, trombone (soliste SMCQ) (Le Livre des jours) Composers, Lecturers, Round-table participants Jean Lesage, composer (McGill Schulich School of Music) Hank Knox, harpsichord (McGill Schulich School of Music) Dom Richard Gagné, Gregorian specialist (choir director, Abbaye de St-Benoît du Lac and former choir director, Abbaye de Solesmes) Peter Schubert, choral conductor (McGill Schulich School of Music) Sean Ferguson, composer (McGill Schulich School of Music) Polo Vallejo, composer, ethnomusicologist (Madrid) Fabrice Marandola, percussion (McGill Schulich School of Music)
Shawn Mativetsky, percussion (McGill Schulich School of Music) Edition Martin Matalon, composer (Paris) Julie Cumming, musicologist (McGill Schulich School of Music) th Julian Anderson, composer (Harvard University - Royal College of Music, London) Rogers Covey-Crump, tenor (Hilliard Ensemble, London) John Rea, composer (McGill Schulich School of Music) Denys Bouliane, composer (McGill Schulich School of Music) Jonathan Wild, composer (McGill Schulich School of Music) Stephen McAdams, director CIRMMT (Centre for Interdisciplinary Research in Music, Media and Technology) édition / 4 e 4 sm13-5_pxx_layoutwkc-Ads.qxd 1/29/08 11:49 PM Page 5
PUCCINI, THE GREAT OPERA COLLECTION Ensembles Renata Tebaldi, Carlo Bergonzi et autres Archambault célèbre le 150ième anniver- saire de Puccini avec le coffret de 15 CD The Great Opera Collection. Une magni- fi que compilation des grands opéras de Puccini interprétés par les voix inoubliables de Renata Tebaldi, Carlo Bergonzi, Mario del 99 Monaco et plusieurs autres. PRIX EXCEPTIONNEL 29 15 CD
BEST VIVALDI 100 Collaboration spéciale Artistes variés
EMI classics présente Best Vivaldi 100 en hommage à Antonio Vivaldi, compositeur Solistes le plus infl uent de l’histoire de la musique. Vous retrouverez sur ce coffret de 6 CD ses œuvres les plus populaires interprétées par des artistes de renommée dont Gérald 99 Lesne, Fabio Biondi et Vivica Geneaux. 16 6 CD
Renee Fleming Yannick Diana Damrau, soprano Nézet-Séguin, soprano 99 99 chef/Conductor 9 9 Composers, Lecturers, Round-table participants UN CONTE DE FÉES PASSION Angèle Dubeau & La Pietà Angèle Dubeau & La Pietà
DVD DVD
Joyce DiDonato, Matthew mezzo-soprano Polenzani, ténor/Tenor
1699 1699 VERDI, LA TRAVIATA VERDI, NABUCCO Renée Fleming, Leo Nucci, Ronaldo Villazon, James Conlon Maria Guleghina
1699 1699 VIVALDI, AMOR PROFANO CANTICUM Simone Kermes, Venice CANTICORUM Baroque Orchestra, Andrea Marcon Les Voix Baroques
15 MAGASINS CARTE-CADEAU Pour connaître nos adresses: COMMANDE ET SERVICE AUX ARCHAMBAULT 514.849.8589, 1.877.849.8589 INSTITUTIONS ET ENTREPRISES Offrez le plaisir de choisir ou sur www.archambault.ca 514.849.8589 ou 1.877.849.8589 sm13-5_p06_contents.qxd 1/30/08 10:27 AM Page 6
CONTENT ANDRÉ MOISAN › P. 8 / RÉDACTEURS FONDATEURS / FOUNDING EDITORS Wah Keung Chan – Philip Anson VOL. 13.5 – FÉVRIER 2008 FEBRUARY
ÉDITEUR/PUBLISHER La Scène Musicale CONSEIL D’ADMINISTRATION / BOARD OF DIRECTORS Wah Keung Chan (prés.), Sandro Scola, Gilles Cloutier, Holly Higgins-Jonas
RÉDACTEUR EN CHEF/EDITOR Wah Keung Chan RÉDACTEUR JAZZ / JAZZ EDITOR Marc Chénard RÉDACTEUR MUSIQUES DU MONDE / WORLD MUSIC EDITOR Bruno Deschênes COORDONNATEUR CD / CD COORDINATOR Graham Lord CONTENTSOMMAIRE COLLABORATEURS / CONTRIBUTORS Michel Beaulac, Francine Bélanger, René Bricault, / Pierre Marc Bellemare, Louis-Pierre Bergeron, Charles Collard, Frédéric Cardin,
PHOTO: HERB GREENSLADE Martin David-Blais, Kris Berey, Pierre Demers, Philippe Gervais, Olivier Giroud- Fliegner, W.S. Habington, Félix-Antoine Hamel, Alexandre Lazaridès, Norman Lebrechet, Graham Lord, Caroline Louis, Lucie Renaud, Julie Roy, Paul Serralheiro, Joseph So, Christine Rogers, Pierre Sultan, Mike Vincent TRADUCTEURS / TRANSLATORS Alain Cavenne, Ron Rosenthall RÉVISEURS / COPY EDITORS & PROOFREADERS Alain Cavenne, Lilian I. Liganor, Annie Prothin, Jef Wyns, Marthe Beauregard, Christine Asselin CALENDRIER RÉGIONAL / REGIONAL CALENDAR Eric Legault ASSISTANTS AU CALENDRIER / CALENDAR ASSISTANTS Dominic Spence, Andie Sigler, Christian Szczepanik DIRECTEUR ARTISTIQUE / ART DIRECTOR Bruno Dubois GRAPHISME / GRAPHICS Kamal Akhabir SITE WEB / WEBSITE Normand Vandray, Michael Vincent
CONTENTS SOMMAIRE PHOTO DE COUVERTURE / COVER PHOTO Herb Greenslade / ADJOINTS ADMINISTRATIFS / ADMIN. ASSISTANTS Langakali Halapua, Graham Lord DIRECTRICE DE LA DISTRIBUTION / DISTRIBUTION MANAGER Langakali Halapua TECHNICIEN COMPTABLE/BOOKKEEPER Kamal Ait Mouhoub BÉNÉVOLES / VOLUNTEERS Christine Asselin, Marthe Beauregard, Maria Bandrauk, CE MOIS-CI • THIS MONTH Susan Callaghan, Wah Wing Chan,Yannick Chartier, Nathalie Contant, Holly Jonas Higgins, Virginia Lam, Linda Lee, Antoine Letendre, Lilian I. Liganor, ACTUALITÉS / IN THE NEWS Stephen Lloyd, Annie Prothin, Jef Wyns SOMMAIRE BRUARY 8 André Moisan ADRESSES / ADDRESSES 5409, rue Waverly, Montréal 15 Notes (Québec) Canada H2T 2X8 20 Opus Tél. : (514) 948-2520 / Téléc./Fax : (514) 274-9456 [email protected] • Web : www.scena.org 21 Otto Joachim : l’avant-garde production – artwork : [email protected] 22 Karlheinz Stockhausen 1928-2007 CONTENTS PUBLICITÉ /ADVERTISING 2008 F (514) 948-2520 • http://ads.scena.org 24 Série Hommage IV : Gregory Cerallo Vivier, parangon du postmodernisme Mario Felton-Coletti Gillian Pritchett 26 Julie Boulianne: Dreaming of Rosina? Christine Rogers 27 Staging the Barber of Seville Julie Roy 43 Callas : Entre regard et voix LA SCENA MUSICALE, publié dix fois par année, est consacré à la promotion de la ÉVRIER 44 Sweeney Todd... musique classique et jazz. Chaque numéro contient des articles et des critiques ainsi qu’un calendrier de concerts, de conférences, de films et d’émissions. LSM F 45 Music and magic in Montreal: Houdini est publié par La Scène Musicale, un organisme sans but lucratif. La Scena Musicale est la traduction italienne de La Scène Musicale. SOMMAIRE / JAZZ LA SCENA MUSICALE is dedicated to the promotion of classical music and jazz. It is published ten times per year. Inside, readers will find articles and reviews, as 48 Portrait Montréal / Montreal Portrait well as listings of live concerts, lectures, films and broadcasts. LSM is 49 Oscar Peterson 1925-2007 published by The Music Scene, a registered non-profit charity. La Scena Musicale is Italian for The Music Scene MUSIQUES DU MONDE ABONNEMENTS / SUBSCRIPTIONS L’abonnement postal (Canada) coûte 43 $ / an (taxes incluses). Veuillez envoyer CONTENTS 51 Critiques nom, adresse, numéros de téléphone, télécopieur et courrier électronique. Tous / les dons seront appréciés et sont déductibles d’impôt (no 14199 6579 RR0001). GUIDES Surface mail subscriptions (Canada) cost $43 / yr (taxes included) to cover pos- 46 L’education musicale au primaire et au secondaire / tage and handling costs. Please mail, fax or email your name, address, telepho- ne no., fax no., and email address. Donations are always welcome and are tax- Primary and Secondary Musical Education deductible. (no 14199 6579 RR0001). SECTION CALENDRIER / CALENDAR SECTION Ver : 2008-02-29 © La Scène Musicale. Le contenu de LSM ne peut être reproduit, en tout ou en partie, sans autorisation 29 Calendrier régional/Regional Calendar de l’éditeur. La direction n’est responsable d’aucun document soumis à la revue. 32 Calendrier détachable/Pull-Out Calendar All rights reserved. No part of this publication may be reproduced without the written permission of LSM. 41 cW]Wp_d Petites annonces/Classified Ads j^ [ & Wm ISSN 1486-0317 Version imprimée / Printed ) W [ h 51 Jazz + ISSN 1206-9973 Version Internet ^ Z j i
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Collecte de fonds de la Saint-Valentin : La Scena Musicale vous invite à l’opéra ATMA LE BARBIER DE SÉVILLE classique Cette année, la collecte de fonds annuelle de la Saint-Valentin de La Scena Musicale est The Music Master Series jumelée à une soirée à l’opéra. Vous pourrez assister, le jeudi 14 février, à la présentation offers a variety of learning Nouveautés de l’Opéra de Montréal du Barbier de Séville de Rossini, l’histoire de deux jeunes amoureux experiences which embrace qui surmontent les obstacles à leur union. Le the enjoyment of discovering forfait comprendra un enregistrement de l’opéra de Rossini. Les billets sont offerts en music and the realisation quantités limitées. of making music. Rossini : Le Barbier de Séville Opéra de Montréal le jeudi 14 février 2008 à 20 h Salle Wilfrid-Pelletier, Place des Arts, Montréal
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LA SCENA MUSICALE / LA SCENA Celebrate Festivals in 2008 Graham Bennett
March: His Philosophy is to provide International Arts Festivals the stimulus and tools to May (National Issue): develop skills in the musical Canadian Jazz, World and Folk Festivals language through a fun June (National Issue): and exciting path which ACD2 2555 Canadian Classical Music and Arts Festivals integrates composing, playing and discovery. www.scena.org • (514) 948-2520 atmaclassique.com sm13-5_p08-12_Andre Moisan.qxd 1/30/08 12:14 AM Page 8
ANDRÉSCULPTEUR DE SON › SOUND SCULPTOR
MOISANMarc Chénard u’on l’entende sur scène ou sur disque, André Moisan rayonne d’une confiance suprême. Des mélomanes avertis aux critiques les plus aguerris, tous apprécient la musicalité innée deQ ce grand virtuose de chez nous. Doté d’un arsenal complet de clarinettes, de l’énorme contrebasse en métal au quasi-bâtonnet de bois en mi bémol, il les joue toutes avec panache et aisance, comme ses proches cousins, les saxophones. Qu’il interprète du Brahms ou du Boulez, du Saint-Saëns ou du Stockhausen, aucun volet du répertoire, classique ou contemporain, ne semble au-delà de sa portée.
hether you hear him on stage or on a recor- ding, total confidence radiates from André Moisan. One of our finest virtuosos, his innate musicality is appreciated by infor- medW music lovers and hardened critics alike. Equipped with a complete arsenal of clarinets, from the enormous metal contrabass to the quasi-wooden stick that is the sopranino in Eb, he plays them all with panache and ease, alongside the clarinet’s cousins, the saxophones. Whether he’s performing Brahms or Boulez, Saint-Saëns or Stockhausen, no part of the classical or contempora- ry repertoire seems out of his reach. PHOTOS: HERB GREENSLADE 8 Février 2008 February sm13-5_p08-11_Andre Moisan.qxd 1/29/08 7:52 PM Page 9
En septembre dernier, ce sympathique musicien entamait sa tren- tième année de carrière professionnelle. Depuis son entrée dans l’arè- ne publique, à 17 ans, son parcours est semé d’expériences les plus diverses: concerts à titre de musicien de pupitre avec l’Orchestre Symphonique de Montréal (l’OSM), récitals de soliste et de cham- briste, musiques de studios (trames sonores, jingles publicitaires, accompagnement d’artistes populaires), voire quelques détours dans les contrées du jazz. Chef d’orchestre aussi, cet ancien élève de Boulez assume la direction des matinées musicales de l’OSM depuis près de dix ans. Communicateur au verbe facile, il transmet son grand savoir aux aspirants clarinettistes inscrits à l’Université de Montréal, et ce, du bac au doctorat; sollicité du reste comme conférencier, il anime autant des classes de maîtres que des séminaires sur l’un de ses prin- cipaux chevaux de bataille: la gestion du stress. Peu importe le cha- peau qu’il porte, maestro Moisan jongle avec ses nombreuses occupa- tions avec autant d’enthousiasme et de conviction que de brio ! Dès son plus jeune âge, Moisan a baigné dans la musique, son père Gilles ayant été le titulaire du pupitre de la clarinette basse à l’OSM pendant 46 ans, soit de 1952 à 1998. Peu après la retraite de ce der- nier, André, l’aîné de trois fils, lui a succédé en remportant le concours d’audition devant un jury, incluant son redoutable chef. Népotisme diriez-vous?... Point du tout! D’une part, l’épreuve se déroule de manière à ce que les candidats soient dissimulés derrière Last September, the charismatic musician began the 30th year of his pro- un rideau. D’autre part, l’heureux élu souligne que dame Chance lui fessional career. Since his arrival on the scene at age 17, his journey has been a souri lorsque son fabricant d’instruments lui a fourni l’un des pre- filled with diverse experiences: countless concerts as a musician in the miers exemplaires de son nouveau modèle de clarinette basse, répu- Montreal Symphony Orchestra (MSO), solo and chamber recitals, studio tée comme étant la Cadillac en son genre. music (soundtracks, advertising jingles, accompaniment for pop artists), and even some forays into jazz. Equally at home as a conductor, this one SENTIR LA MUSIQUE time student of Boulez has led the MSO Youth Matinées series for almost 10 À l’orée de ses 48 ans, Moisan a atteint les plus hauts échelons de years. What’s more, he passes on his vast knowledge to aspiring clarinetists sa profession, mais il ne se permet pas d’être complaisant dans ses enrolled at l’Université de Montréal (from Bachelor’s to doctoral students); choix musicaux. Bien que ses propres enregistrements sur étiquette highly in demand as a lecturer, he gives masterclasses as well as seminars Atma (voir discographie en fin d’article) indiquent une nette préfé- on one of his favourite subjects: stress management. No matter what role rence pour des musiques tonales des deux derniers siècles, il ne he assumes, Maestro Moisan juggles his many occupations with enthusi- dédaigne pas le répertoire contemporain. «J’ai passé, je ne sais pas, asm, conviction, and brilliance! des centaines d’heures à travailler Domaines de Boulez, pour les maî- From a very young age, Moisan was immersed in music; his father, Gilles, triser d’un point de vue technique, évidemment, et les rendre avec was the bass clarinetist in the MSO for 46 years (1952-1998). After the lat- émotion. J’ai même demandé au compositeur s’il fallait les jouer ainsi ter’s retirement, André, the eldest of his three sons, took over the chair by ou d’une manière plus détachée, neutre si l’on veut, et il a effective- winning the audition in front of a panel that included the legendary (and ment confirmé mon intention.» often intimidating) Charles Dutoit himself. Sounds like nepotism, you say? Dans un tout autre créneau du répertoire, il raconte comment il a Not at all! For one, the audition is conducted so that the candidates are décidé de modifier certaines indications, même une tournure ou screened; in other words, they play behind a curtain to protect anonymity. deux dans Tema con Variazioni de Jean Françaix (œuvre incluse sur le In addition, the fortunate winner insists that Lady Luck was smiling down disque «Impressions de France»). Juste après l’enregistrement du on him, since his instrument maker had provided him beforehand with one morceau, dame Chance lui sourit de nouveau quand il apprit, à sa of the first prototypes of a new bass clarinet model, now renowned as the grande surprise, que le compositeur vivait encore. Par personne inter- Cadillac of its kind. posée, il réussit à le joindre à son domicile parisien, espérant lui faire entendre sa version lors d’un passage déjà prévu dans la capitale fran- FEELING THE MUSIC çaise. Chose dite, chose faite, si bien que le compositeur en fut ému Now in his 48th year, Moisan has attained some of the highest peaks of et accepta de plein gré les changements effectués par l’interprète. his profession, but he doesn’t allow himself to become complacent in his «L’important pour moi, précise Moisan, c’est de sentir une pièce, musical choices. As much as his recordings for the Atma label (see the autant dans ses phrases individuelles que dans son ensemble, faute de discography at the end of this article) underscore a real preference for tonal quoi je l’ajuste, quitte à la mettre de côté tout simplement. Pour mes music of the last 200 years, he doesn’t shun contemporary repertoire. “I disques, c’est la même chose. Par ailleurs, ma maison de disques me probably spent a good hundred hours working on “Domaines” by Boulez, to laisse entière liberté pour choisir le répertoire. Dans presque tous les master them from a technical point of view, obviously, and to perform them cas, je cherche à inclure une première mondiale ou un morceau rare- with emotion. I even asked the composer if one should play them as such or ment joué, comme la sonate de Jenner, un compositeur malheureu- in a more detached, if not neutral style, and he confirmed my intention.” sement oublié de nos jours, qui fut tout de même le seul élève de In another realm of the repertoire, he relates how he decided to change Brahms. Chose intéressante, bien des collègues m’ont déconseillé de a few indications in the score, even a turn of phrase or two in Jean Françaix’s jouer ce morceau, mais m’ont remercié de l’avoir fait par après, et je Tema con Variazioni (a work included on Moisan’s CD entitled Impressions de dois saluer ici mon pianiste Jean Saulnier qui m’a encouragé à le faire, France). Just after recording the piece, Lady Luck smiled on him again when même si sa partition est vraiment monstrueuse. Les critiques ont he learned, to his great surprise, that the composer was still alive. Through aussi applaudi mon initiative, quelques-uns l’ayant même préférée a third party, he managed to meet Françaix in Paris, hoping to have the com- aux deux sonates de Brahms qui la précédent sur le disque.» poser hear his version. This meeting worked out so well for Moisan that the composer was deeply impressed and willingly accepted the performer’s ALÉAS DU MÉTIER changes. Compte tenu de son milieu familial et de sa précocité, tout porte “What’s important for me,” states Moisan,“is to feel a piece, as much its à croire qu’André Moisan a suivi un chemin en droite ligne pour individual phrases as its collective whole, otherwise I adjust it, or I simply atteindre les succès qu’on lui connaît et une reconnaissance à la fois put it aside. For my recordings, it’s exactly the same. My label gives me com- nationale et internationale. Pourtant, la route a été plus tortueuse que plete freedom in choosing the repertoire, too. Almost every time, I aim to
Février 2008 February 9 sm13-5_p08-11_Andre Moisan.qxd 1/29/08 7:53 PM Page 10
cela. «J’ai commencé presque en cachette à la petite école, avoue-t-il, include a world premiere or a rarely performed piece, like the sonata by et c’est un monsieur du nom de Lucien Rivard qui m’a montré les Jenner, a composer who has unfortunately been mostly forgotten, even premiers rudiments. Mon père a pris le relais, mais j’étais un élève though he was Brahms’ only student. Interestingly, many colleagues assez récalcitrant parce que je questionnais sans cesse ses enseigne- advised me not to do the piece, but finally thanked me for having done it, ments. Durant mon adolescence, j’ai pratiqué comme un dément, and I should thank my pianist, Jean Saulnier, who encouraged me in this des fois jusqu’à ce que mes lèvres soient en sang. Je me fixais des regard, even though he has an extremely difficult part to play. Critics also objectifs durant cette période, l’un d’eux étant de régler toute ma appreciated my initiative; some even preferred the Jenner to the two technique pour mes 20 ans, quitte à me consacrer à vraiment faire de Brahms sonatas that precede it on the disc.” la musique après coup. En 1977, mon père a mis sur pied le Quatuor de clarinettes Moisan avec mes deux frères et moi, une expérience OCCUPATIONAL HAZARDS familiale formidable qui a duré 12 ans pour moi, et je dis bien fami- Given his precocious nature, as well as the family’s connection to music, liale ici, parce que notre mère nous servait d’imprésario.» one could be led to believe that André Moisan followed a direct path to the Quant à savoir si ceux qui viennent d’un milieu musical ont un net international reputation and many successes he has attained; however, the avantage sur d’autres musiciens n’ayant pas grandi dans un tel envi- road was not without some hairpin turns.“I started to play almost in hiding ronnement, il concède que cela permet à l’individu de se développer at grade school,” he admits, “and a man named Lucien Rivard first taught plus tôt, mais n’est pas pour autant une condition sine qua non. Et me the basics. My father took over, but I was a fairly stubborn student; I con- pour cause, car ses cadets ont décidé de ne pas en faire une carrière. stantly questioned his assignments. As a teen I practiced fiendishly, some- Par ailleurs, il y a une perception générale voulant que les grands times until my lips bled. I set goals for myself during this period: one of artistes sont destinés à la gloire par la seule force de leur talent. Mais them was to get my technique together by the age of 20, just so I could con- il faut plus que cela: il faut être extrêmement motivé et travailler avec centrate on really making music from then on. In 1977, my father started up acharnement, deux atouts qui ont justement permis à André Moisan the Quatuor de clarinettes Moisan with my two brothers and me, which d’accéder à son enviable statut d’artiste de scène. was a fantastic family experience that lasted for 12 years for me. I empha- Encore adolescent, le chemin semblait tracé d’avance pour une size the word ‘family’ here, because our mother acted as our impresario.” rapide ascension au sommet. En 1977, par exemple, il débuta à As to his thoughts on the possible benefits of coming from a musical l’OSM à titre de surnuméraire. Mais son vrai premier boulot profes- background, he concedes that this gives an individual the opportunity to sionnel était bien modeste, soit de jouer une musique de fond pour develop earlier on, but that it is not an absolute advantage, a case in point une annonce publicitaire. La glace ainsi brisée, un travail mena à un being his own siblings, who decided not to make a career out of music. In autre, sa carrière s’amorçait bien, mais le tableau allait bientôt s’as- addition, there is a general perception that great artists are destined for sombrir. glory based only on sheer talent—there’s more to it than that: one must «Tout allait pour moi jusque-là, je m’amusais pas mal, mais c’est have motivation and determination, two assets that allowed André Moisan devenu beaucoup moins drôle par la suite. Je suis entré dans l’or- to reach his enviable status as a performing artist. chestre des Grands Ballets Canadiens à 17 ans et là j’ai commencé à When still a teenager, he seemed primed for a quick rise to the top. In sentir le stress. La musique c’est une chose, mais il y a la dimension 1977, for instance, he made his début as a substitute with the MSO. Yet, his humaine aussi, où on doit apprendre à transiger avec des gens de first real professional gig was more modest: playing a jingle for an ad. The métier. On te regarde comme le petit jeunot sans expérience qui doit ice was broken, though, as one engagement led to another, and his career
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CINQ CONSEILS POUR CLARINETTISTES EN HERBE FIVE HINTS FOR ASPIRING CLARINETISTS 1 › TOUJOURS S’AMUSER 1 › HAVE FUN, ALWAYS 2 › FAIRE DES SONS FILÉS 2 › DO LONG TONES 3 › RESPIRER 3 › BREATH 4 › RESPIRER 4 › BREATH 5 › BIEN RESPIRER AVANT DE JOUER 5 › TAKING DEEP BREATHS BEFORE PLAYING
Les poumons sont aux instruments à vent ce que l’ar- The lungs are to wind players what bows are to string chet est aux cordes. Qu’il s’agisse d’articulation, de players. Whatever a musician plays, his articulation, lega- legatos, de la qualité de son ou de dynamiques, rien to, quality of sound or dynamics, nothing can happen n’e«xiste s’il n’y a pas une respiration ample et profonde. Nous “ sommes comme des sculpteurs, mais notre outil est la respi- without deep and full breaths. We are like sculptors, but our chis- ration et notre matériau, le son. L’artiste ne doit pas juste el is our breath, and the sound is our chosen material. But for respirer l’air autour de lui, mais «inspirer» la musique. Si la artists, it’s not only a matter of drawing in air, but making music, respiration n’est pas un acte d’artiste, un acte d’amour plei- too. If our breath is not an artistic one, an act of love made in nement délibéré, ça ne fonctionnera jamais ! » (À méditer.) total awareness, it simply will never fly” (Sound advice, indeed.)
être moins bon qu’eux et tu te mets à penser à toutes sortes de choses began well enough. The first roadblocks, however, lay around the corner. pas très plaisantes, à savoir ce qu’ils pensent de toi. À l’OSM, j’ai vu “Everything was going well for me up until then:I was having a good time, la dureté du chef envers ses musiciens et j’avais peur de faire une but it became less fun very quickly. I started with the Grands Ballets bavure. À un moment, je me posais la question à savoir si on m’en- Canadiens orchestra when I was 17, and it was then that I began to feel gageait parce que j’étais le fils de l’autre. Toutes ces choses ont fini par stressed. Music is one thing, but then there’s the human factor as well, like me miner jusqu’à ce que j’arrête complètement de jouer pendant un dealing with people already established in the business. They see you as the an, en 1980, à cause de ces angoisses. Il est malsain, par exemple, de new kid who can’t possibly be as good as them and that’s when all kinds of ne pas s’estimer bon parce qu’on n’a pas fait quelque chose parfaite- unpleasant thoughts run through your mind, like what they think of you. In ment. Ce qui ne veut pas dire d’abaisser la barre; gardez-la haute, the MSO,I saw how stern the conductor was towards his musicians and I was mais si on ne l’atteint pas tout de suite, il faut accepter cela comme terrified of making a mistake. At one point, I wondered if I was getting hired une étape dans le cheminement. Jadis, je ne comprenais pas cette because I was the son of Gilles Moisan. All these fears ate away at me until I capacité de relativiser les choses, de les mettre en perspective, mais j’ai stopped playing for a year in 1980. It’s most unhealthy to think poorly of fini par saisir.» yourself just because you haven’t done something perfectly. This isn’t to say that you should lower the bar; keep it high, but if it isn’t attained right away, DU PLAISIR AVANT TOUTE CHOSE you have to accept it as a stage in the process. Once upon a time,I didn’t have De cette dure expérience, André Moisan a tiré une bonne leçon, à this capacity to see things relatively, to put them in perspective, but I finally savoir qu’il n’y a pas de mauvaises expériences en soi; certes, elles peu- caught on.” vent être très difficiles, mais on finit toujours par trouver quelque chose pour son compte. Et il peut certes en parler aussi. ENJOY YOURSELF ABOVE ALL «Pour surmonter mon désarroi, je me suis livré à des recherches From this difficult period, André Moisan learned the valuable lesson that personnelles pour vraiment comprendre et retrouver cette motivation there are no purely bad experiences: they can certainly be very difficult, but profonde que j’avais complètement perdue. Pendant un an, je me suis there is always a silver lining to every cloud. He, for one, knows all too well: retiré de la musique pour étudier ces questions, mais la musique me “To escape this despair, I pondered long and hard to truly understand this manquait tellement que j’y suis revenu au galop. J’ai dû me refaire deep-seated motivation in me, which I completely lost but needed to find
EN CONCERT SUR DISQUE › Dimanche 24 Février, 14 h 30. En soliste avec l’OSM (Place des › 2007 Phantasiestücke (Œuvres de Rheinberger, von Sachsen Arts, salle Wilfrid-Pelletier). Le sexe des anges, concerto pour Meininghausen, Schumann et Reinecke) ACD2 2516* clarinette basse et orchestre de Denys Bouliane. › 2005 Brahms Jenner / Sonates pour clarinette et piano. ACD2 2358* › Lundi 3 mars, 7 h 30 (N.B. le matin). Série «Sonnez les › 2001 Adolphe Blanc, Septuor op. 40, Trio op. 23, Quintette op. 37 matines», Chapelle de l’Église Saint-Jean Baptiste, 4250, rue (André Moisan, direction artistique et clarinette avec Drolet. Œuvres de Kovac, Stravinski, Béchet et autres surprises. l’ensemble Les Vents de Montréal) ACD2 2224 › 1999 Alla Gitana (Œuvres de Bartok, Dukas, Martinu, Vaughan › Vendredi 14: Conférencier invité (Journée de la clarinette Williams et autres) ACD2 2187** Buffet-Crampon) et récital (samedi 15 à 19h30) avec le pianiste › 1997 Beethoven Symphonie no 7 et Septuor op. 20 (André Moisan Jean Saulnier. (Conservatoire de Hull à Gatineau). direction de l’ensemble Les Vents de Montréal) ACD2 2129** › Mercredi 3 avril, 19 h 30. Soliste invité avec le Big Band de jazz › 1996 Impressions de France (Œuvres de Poulenc, Saint-Saëns, de l’Université de Montréal, dir. Ron di Lauro. Faculté de Rabaud, Debussy, Widor, Pierné et Françaix) ACD2 2121** musique, Université de Montréal, 220 ch. Vincent-D’Indy. * Jean Saulnier, piano; ** Louise-Andrée Baril, piano (Tous les titres sont sur Atma Classique) › Jeudi 2 mai, 18 h 30, Musée des Beaux-Arts. Exécution de l’Octuor de Schubert avec les solistes de l’OSM.
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une hiérarchie des valeurs en plaçant le plaisir en haut de celle-ci et again. For a year, I withdrew from music to study these problems, but I je me suis résolu à compter de ce moment-là à ne plus laisser person- missed playing so much that it came back to me at warp speed. I had to ne hypothéquer ce plaisir, plaisir qui ne vaut pas juste en musique reexamine my priorities and decided to put pleasure at the top of my new- mais pour tout dans la vie. De nos jours encore, je poursuis ce travail found scale of values; from that moment on, I resolved to never again allow de recherche, lequel m’a permis de mettre au point mon séminaire anyone to compromise this enjoyment which is so valuable, not only in sur La stratégie mentale de l’artiste de scène au XXIe siècle.» music, but in all aspects of life. I’m still researching these issues to this day, Durant son exposé, le conférencier ratisse large en traitant de and this has allowed me to develop my seminar, which I call (translated sujets aussi divers que la neurophysiologie, la psychologie et la phi- from French):‘Mental Strategies for Performing Artists in the 21st Century’”. losophie, le tout appuyé d’une présentation audiovisuelle dynamique During his lecture, Moisan draws on subjects as diverse as neurophysiol- et de quelques démonstrations avec des étudiants «cobayes». À cet ogy, psychology, and philosophy, supported by a very broad-based audiovi- effet, musiciens et mélomanes sont cordialement invités à assister à sual presentation and demonstrations with some “guinea-pig” students. To son prochain entretien le 1er mars prochain à la salle Serge-Garant that end, musicians and fans alike are cordially invited to his next talk on (local 484) de la Faculté de musique de l’Université de Montréal, March 1, from 1:30-4:30 PM, in the Salle Serge-Garant (room 484) at 211, chemin Vincent-D’Indy, de 13h30 à 16h30. (Infos et réserva- l’Université de Montréal’s Faculty of Music (220, chemin Vincent-D’Indy). For tion: 514-343-6427). more information and reservations, call 514-343-6427. Interprète émérite, chef d’orchestre passionné et communicateur- Skilled performer, passionate conductor and born communicator all né, André Moisan est un artiste de la vie qui a trouvé les clés de son rolled into one, André Moisan is a remarkable artist who has found not only propre succès en les partageant pleinement avec son public, des plus the key to his own success, but the knack to share this gift with his audi- avertis aux plus novices! ■ ence, from novices to experts alike! ■ [Traduction : Graham Lord] NEW BACKUN / LEBLANC CLARINETS MAKE A BIG SPLASH Graham Lord
or about a decade now, a woodwind mecca Larry Combs,James Campbell,and jazz legend Eddie has been establishing itself on the west Daniels, among others. F coast. The Backun Musical Servies shop in The end result? The new Backun/Leblanc line fea- Burnaby, BC, just a 20-minute Skytrain from down- tures three new clarinets that will represent a formi- town Vancouver, began by carving a niche for itself dable challenge to the competition: the flagship as one of the world’s most respected woodwind Legacy, the “tribute to tradition” model, entitled repair centres. Initially, founder and president Symphonie, and a step-up model for students Morrie Backun introduced custom handcrafted becoming more serious about performance, barrels and bells. Not limiting himself to grenadilla Cadenza. Appropriately, the Cadenza is only available (by far the industry’s standard wood),Morrie exper- in Bb, while the Legacy and Symphonie models are imented with cocobolo, tulipwood, and others; offered in either Bb or A. As a nod to the distinct sty- listic tastes of a wide variety of players,all three mod- els offer two styles of Backun Ringless barrels of wood,comes equipped with the barrels (if not bells), (cocobolo and grenadilla) along with the clarinet, and has the same silver-plated keywork and high- while the Legacy and Symphonie give a similar choice grade Valentino pads as the Legacy and Symphonie. of bells; students using the Cadenza will have to do Without doubt,it will give developing students a taste without. Other features include acoustic foam on of the professional sound for a very modest price. several keys (designed to eliminate unwanted vibra- Trying out new instruments is highly dependent tions), a voicing pin for the octave vent (to enhance upon each player’s particular needs and tastes, so I performance for register shifts and tone production am somewhat apprehensive about writing too much in the upper register), post pivot locking screws…it about my own experience in testing out the new clar- seems as though they’ve thought of everything. inets. Still, I must heartily recommend these instru- these accessories received great acclaim for their While the masterful acoustic design,high quality of ments:the sheer ease of the usually-dreaded register warm and refined sound, as well as their stunning wood,and keywork (including 24K gold-plated register shift will shock you,and the ergonomic nature of the visual beauty. More recently, Morrie teamed up and thumb tubes) are enough to impress, there’s keywork is outstanding.That same warm, rich sound with Philadelphia Orchestra principal clarinetist something else noteworthy here: the price tag. If nec- that made Backun’s barrels and bells famous is pres- Ricardo Morales, regarded as one of the finest essary,performers who are serious about their craft are ent more than ever: if you were impressed by his woodwind artists of our time, to create a new willing to pay exorbitant amounts, so it’s a surprise to gadgets before, you simply must check out the com- series of mouthpieces. see such highly-touted instruments be reasonably plete package. If not, these may not be the right Now, Backun has answered the call from Leblanc affordable. At $5895, the Legacy is on par with other, instruments for you. For those that have not yet had and joined them as director of product develop- more traditional pro models. The Symphonie is a fair the pleasure of trying these accessories, particularly ment for their new line of professional clarinets. bargain at $3895,but the big story for value here is the students looking to upgrade, take note: this may be This can only be good news for Leblanc, since the quasi-student model Cadenza, which runs at $1895. your next clarinet. ■ Backun client list generally reads as a who’s who of Marketed as “ideal for college-bound musicians”, it today’s top clarinetists: Ricardo Morales, David may not feature all the bells and whistles of the two For more information, check out the Backun home Shifrin, Sabine Meyer, British prodigy Julian Bliss, higher end models,yet it is still made from a fine grade page at www.backunmusical.com
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ÉDITORIAL / FROM THE EDITOR
epensant à l’année 2007, je suis fasciné par l’évolution de la s I look back on 2007, I cannot help but marvel at the pace of tech- technologie et l’accessibilité sans cesse croissante qu’elle per- nology and its ability to enable accessibility. Last year, the Met made R met. L’an dernier, le Met a profité des percées technologiques A good use of technological advances when it introduced its pour lancer les diffusions en direct de ses productions dans les salles Metropolitan Opera Live in HD telecasts at movie theatres around the world. de cinéma du monde entier. L’éclatant succès de l’entreprise en a sur- Its resounding success has taken many by surprise and the momentum of pris plus d’un et ce succès ne pourra qu’aller en s’accélérant en 2008, this success can only be expected to accelerate in 2008, given that even étant donné que même les reprises des présentations en HD remplis- encore presentations of the live performances are filling theatres every- sent partout les salles. Là où il y a de l’argent à faire, on peut s’at- where. Where there’s money to be made, competition is soon to follow and tendre à voir arriver la concurrence et bientôt le Met ne sera plus seul the Met will no longer be the only option in town (see the Notes section) – a dans ce marché (voir les Notes) – beau dilemme en perspective! nice dilemma for audiences to have! Je prévois que nous verrons cette année une convergence des This year, I predict that we will see the convergence of old technologies vieilles technologies avec Internet. Il existe maintenant plus de 50 with the web. There are now over 50,000 internet radio stations, of which 000 chaînes de radio sur Internet, dont 5000 font jouer de la 5,000 play classical music. Imagine if your radio receiver could tune in to all musique classique. Imaginez un radiorécepteur pouvant syntoniser 50,000 channels! Internet Radio Receivers are now on the market and LSM 50000 chaînes ! On trouve maintenant des récepteurs de radio will be there to guide you through these exciting times. Internet sur le marché et LSM sera là pour vous guider dans ce nou- As a global leader in music and arts online, LSM also continues to make vel univers de la musique. good use of the available technology. We’ve added a new blog to our web- Chef de file en musique et en arts en ligne, LSM continue égale- site offering news, reviews and commentary (we’ve had over 70 posts in our ment d’innover grâce à la technologie. Nous avons ajouté à notre site first month) and recently introduced unique features such as Today’s Web un nouveau blogue qui offre des nouvelles, des critiques et des Musician Birthdays (including selected videos) and LSM Newswire,a free commentaires (plus de 70 affichages dans notre premier mois) et, service for disseminating music and arts press releases (more than 80 press récemment, des sections uniques comme les Anniversaires de musi- releases have been posted in one month). As well, all of our CD reviews are ciens (incluant certaines vidéos) et le Fil de presse LSM, un service now published online even before the print version of our magazine hits the gratuit pour diffuser des communiqués de presse se rapportant à la stands! Watch for more services to be launched to further benefit the artis- musique et aux arts (plus de 80 communiqués affichés en un mois). tic community. In March, we will be introducing our “NEW RELEASES” sec- En outre, toutes nos critiques de CD sont maintenant publiées en tion (for CDs, DVDs, books, instruments and accessories) in our print maga- ligne avant même la sortie de la version imprimée du magazine. zine and online. D’autres services s’ajouteront bientôt à l’intention de la communau- This month’s cover features clarinetist André Moisan who celebrates 30 té artistique. En mars, nous lancerons une section «Nouveautés» years of playing with the Montreal Symphony Orchestra. His battle to over- (pour les CD, DVD, livres, instruments et accessoires) dans notre come stress makes for an interesting and insightful read. As well, we intro- magazine imprimé et en ligne. duce Julie Boulianne as our rising star as she takes on the role of Rosina at Ce mois-ci, l’article-vedette est un portrait du clarinettiste André the Opéra de Montréal. Moisan qui célèbre ses 30 ans avec l’OSM. Le récit de sa lutte pour We continue our series on composer Claude Vivier and as we honor our vaincre le stress est particulièrement éclairant. Nous présentons aussi musical heroes, we take a look at Maria Callas’ life from a psychological l’étoile montante Julie Boulianne, qui sera en février la Rosine de angle. With their recent passing, we pay homage to musical greats Rossini à l’Opéra de Montréal. Karlheinz Stockhausen and Oscar Peterson. Nous poursuivons notre série sur le compositeur Claude Vivier et, This issue also takes a look at the 11th Annual Opus Awards presented by en hommage aux héros de la musique, nous nous penchons sur la vie the Conseil québecois de la musique (CQM) as it honors musician and com- de Maria Callas d’un point de vue psychologique. Nous soulignons poser Otto Joachim who remains very active at 97. également la disparition de deux grands noms de la musique, On behalf of my team of staff and volunteers, I wish you a wonderful and Karlheinz Stockhausen et Oscar Peterson. healthy 2008! Remember to take the time to treat yourself to “La Scena.” Ce numéro fait enfin le bilan de la 11e édition du Gala annuel des prix Opus présentés par le Conseil québécois de la musique (CQM), P.S. This year, La Scena Musicale’s 3rd Annual Valentine’s Day Fundraising où on rendu hommage au musicien et compositeur Otto Joachim, initiative is An Evening at the Opera, which includes tickets to Opéra de toujours très actif à l’âge de 97 ans. Montréal’s performance of Rossini’s Barber of Seville, a story of young love Au nom de toute l’équipe, je vous souhaite une merveilleuse année overcoming adversity. Included in this package will be a gift bag containing 2008, de la musique et de la santé ! N’oubliez pas de prendre votre a recording of the opera. Tickets are limited so please reserve early. exemplaire de La Scena. As a non-profit charity, LSM counts on your active support of its various fundraising activities throughout the year as well as your generous donations. P.-S. Cette année, la collecte de fonds annuelle de la Saint-Valentin de La Scena Musicale est jumelée à une soirée à l’opéra. Vous pourrez assister, le jeudi 14 février, à la présentation de l’Opéra de Montréal du Barbier de Séville de Rossini, l’histoire de deux jeunes amoureux qui surmontent les obstacles à leur union. Le prix comprend un enregistrement-cadeau de l’opéra de Rossini. Comme les billets sont offerts en quantités limitées, ne tardez pas à réserver. LSM est un organisme caritatif sans but lucratif et compte donc WAH KEUNG CHAN sur votre soutien de ses diverses activités de collecte de fonds et votre FONDATEUR ET RÉDACTEUR EN CHEF générosité. FOUNDING EDITOR AND PUBLISHER La Scena Musicale / La SCENA
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NOTES scena.org Graham Lord and Wah Keung Chan PROFITS IN THE CLASSICAL MUSIC VIOLIST LAMBERT CHEN WINS 2ND RECORDING INDUSTRY ANNUAL GOLDEN VIOLIN, $20,000 SCHOLARSHIP Two recent announcements from the recording industry show that there Montreal-based violist and doctoral candidate Lambert Chen has been are still profits to be made in classical music. According to the company’s awarded a $20,000 scholarship as well as the honour of having his name on press release, ArkivMusic’s 2007 year ended with a 30% increase in revenues a prestigious trophy, the Golden Violin, that some have dubbed the “Stanley year-over-year. Operating exclusively online, ArkivMusic’s advantage is its Cup of classical music”. Over a year ago, noted “endless shelf” of available classical CD inventory. The company is an exam- businessman and philanthropist Seymour ple of The Long Tail theory, wherein companies profit by selling less of more. Schulich bought the ornamental violin, made of Classical aficionados can access the largest number of classical recordings pewter with gold leaf, and decided it would available anywhere in the world – over 82,000 titles – including nearly 5,000 make the perfect trophy to award to top string formerly out-of-print titles produced “on demand” as ArkivCDs. “The players at McGill’s Schulich School of Music ArkivCD program made up about 10% of our overall business in the fourth (renamed after his unprecedented $20-million quarter,” continued Feidner. “That’s a significant percentage for what is gift to the faculty).The violin itself is very fragile, essentially a new line of products. We launched this initiative late in 2006, so Chen won’t be keeping it, though it regularly and we continue to reissue hundreds of releases each month as we expand stays on display in the school’s library and will the catalog of formerly deleted titles.” soon make a stopover at the Hockey Hall of Naxos founder Klaus Heymann recent- Fame, where it will take its place next to the real Stanley Cup. “He’s really ly revealed in an interview with very talented and has the potential to win the major competitions in viola Stereophile that the company was prof- down the road,” said Don McLean, dean of the Schulich School, referring to itable, especially with their digital strate- Chen. “It is a question of acknowledging someone in the final year of their gy, “When I started, all I was trying to do studies as a kind of career-launching recognition.” Schulich himself has was sell a CD at the price of an LP… I never credited his own success to a $1600 scholarship, which helped him to com- imagined we’d become a powerhouse, plete the MBA he received from McGill in 1965, before going on to become a with 300 employees worldwide, and 60 remarkably successful mining magnate; this scholarship, claims Schulich, programmers and systems analysts in our played a vital role in his becoming a notable philanthropist in the realm of Information Technology department. Canadian universities. Last year, the inaugural Golden Violin was awarded to We’re the only record company in the violinist Emmanuel Vukovich. world with our own digital platforms. We have our own download and streaming sites, handle digital distribution for some La Scena Musicale of the labels we distribute physically, and also have books, audio books, and Vous amène à l’opéra ! educational materials. For me, being in classical music has always been a En collaboration avec VOYAGE LM LTÉE lifestyle decision. For years, we didn’t make any money. I’ve invested an enor- Takes you to the opera! mous amount of money – $80 million US – in the entire catalog and range of products, and never had a normal return until, thanks to the advent of In cooperation with LM TRAVEL AGENCY LTD. digital platforms, I made a decent return last year. I’m extremely happy. I’m doing what I love, and I’ll finally make some money from it.”The moral of the En préparation / We‘re working on story is that there are always winners and losers in any industry. While the La Russie et l‘Ukraine avec le festival des major labels and retailers were downsizing, specialized companies have Nuits Blanches de Saint-Pétersbourg been able turn a profit. 6 au 24 juin 2008 BARENBOIM TAKES PALESTINIAN CITIZENSHIP January saw Israeli conductor Daniel Barenboim take yet another bold step Russia and the Ukraine with in the name of coexistence in the troubled Middle East: he now holds hono- St-Petersburg’s White Nights Festival rary citizenship in Palestine. A frequent critic of the Israeli occupation of the West Bank, Barenboim has often gone on record for reconciliation between June 6-24, 2008 Jews and Arabs in the region. “I believe that the destinies of …the Israeli people and the Palestinian people are inextricably linked,” he said. Born in Festival de Lanaudière et Québec (festivités du 400e) Argentina to Russian Ashkenazi Jewish parents, Barenboim has often been at the centre of controversy with regard to Israeli-Palestinian relations. This 5 au 10 juillet 2008 past December, he cancelled a concert scheduled in the Gaza Strip in pro- Lanaudière Music Festival and test, because one of the members of his ensemble, a Palestinian, was stop- Quebec City (400th anniversary festivities) ped at the border and told he needed individual permission to enter the region (even though the group had already been granted authorization to July 5th to 10th, 2008 perform in Gaza by Israeli officials). In 2001, he once again ignited contro- versy in Israel by performing the music of Richard Wagner, which has tradi- tionally been a taboo in the Jewish state due to Wagner’s noted anti- Semitism. Barenboim claims the idea came from an interruption during a press conference he was holding: a cell phone went off, to the tune of Ride L’agence des mélomanes depuis 1975 of the Valkyries (from Wagner’s epic opera, Die Walküre), “I thought if it can Serving opera lovers since 1975 be heard on the ring of a telephone, why can’t it be played in a concert hall?” Pour information et réservations Barenboim is currently Principal Guest Conductor of La Scala in Milan (in the For information and reservations 1 888 371-6151 absence of a music director) and the director of the Berlin State Opera. * Cadeaux pour membres d’Intermezzo | Gift for Intermezzo members Février 2008 February 15 sm13-5_p15-16-19_Notes.qxd 1/29/08 10:56 PM Page 16
EXAMPLE SET BY MET’S LIVE IN HD whether the approach taken by San Francisco Opera sonal money management. Anyone with even a FOLLOWED BY OTHER COMPANIES and Opus Arte of presenting edited pre-recorded mild interest in the workings of money will find it opera with a better picture quality can match this engrossing. Worldwide, the innovation of the last season was kind of turnout. The Met at the Movies has the Some sections of the book discuss what could the Met Opera at the Movies series. Such was its advantage of being live and benefits from free PR loosely be described as “life management” topics. success that other art forms and competition from the associated buzz, so it’s going to take some The first chapter presents an insightful mecha- from other opera companies are poised to enter serious marketing efforts to match them. nism for deciding on a particular course of action: the marketplace: assign numerical values to the pros and cons and • The National Ballet of Canada showed their sold- APPLICATION DEADLINES FOR pursue it only if the advantages more than dou- out December 22nd matinee performance of The COMPETITIONS, SCHOLARSHIPS, ble the sum of the disadvantages. The book also Nutcracker at Cineplex theatres in Live HD. AND GRANTS includes several surprises, such as a poem about • The San Francisco Opera will be showing six Looking for some extra cash? Is there a musical relationships in the chapter called “Sex and Love” pre-recorded HD operas from March to project you’ve always dreamed of completing but and an appendix listing Schulich’s ten favourite November 2008 in a four-year agreement with never had the funding to realize? Check out these movies (no explanation given). The Bigger Picture, a subsidiary of Access websites for more information on upcoming Schulich states his goals for his book and his Integrated Technologies, Inc. competitions and grant programs that may inter- major endowments to five different university • Britain’s Opus Arte, a leader in opera and ballet est you: faculties: first, to make a significant impact on on DVD, in collaboration with Montreal’s 97th Prix d’Europe: March 1 the lives of individuals, and second, to be remem- DigiScreen (a Daniel Langlois company), has (www.prixdeurope.ca) bered. With Get Smarter, Schulich is on his way to begun showing recorded and edited HD ver- Canadian International Organ Competition: imparting his hard-earned knowledge to the next sions of operas and the San Francisco Ballet’s February 15 • (www.ciocm.org) generation. For his philanthropic projects, he also The Nutcracker in selected movie theatres Alcan/Équi Vox Montréal Scholarship: April 30 plans to have an atypically large effect not just on across Canada, the US and Europe. In Canada, (www.equivox.org/montreal) institutions, but also on the lives of the recipients. Empire Theatres picks up Nutcraker plus four Canada Council for the Arts To succeed, he stipulates that 7 to 10 per cent of independent cinemas in Montreal, Toronto, (www.canadacouncil.ca/grants/calendar) his endowments be paid out each year, compared Waterloo and Vancouver. Festival Programming/Travel Grants: Feb. 15 to the standard 5 per cent, so that individual stu- • La Scala also got into the act with their six- Individual Grants (classical): March 1 dents get the same life-changing benefit that he opera HD broadcast season, which is available Individual Grants (non-classical): March 1 himself received from a sizable grant in 1963. in North America, but only in the US. The series Aboriginal Peoples Music Program: March 1 As the benefactor of such dramatically effec- got underway in December 2007 with Aïda. New Music Program: March 15 tive philanthropic gifts, his name will not be for- Showing operas at the cinema can be quite lucra- Travel Grants to Professional Musicians: gotten soon, and with his book, Schulich has suc- tive.The debut for the Met’s second season of Live in Anytime ceeded in memorably introducing himself to his HD performances, Gounod’s Roméo et Juliette, Conseil des arts de Montréal public. In short, Get Smarter is both more person- reached 97,000 viewers and took in $1.65 million, (www.artsmontreal.org/dates_inscription.php) al and more useful than many books written by according to the company’s blog. The question is Project Grant: March 1 businessmen, and is the kind of book one can Operating Grant: March 1 turn to again and again for inspiration, guidance, Multi-year Grant (4-year cycle starts in ‘08): or simply entertainment. Christine Rogers March 1 Festival or Major Event Grant: March 1 FEBRUARY BIRTHDAYS Conseil des arts et lettres du Québec Feb. 1, 1922 Renata Tebaldi (d. 2004) (www.calq.gouv.qc.ca/artistes/dates_en.htm) Feb. 2, 1875 Fritz Kreisler (d. 1962) Artistic Research and Creation: April 1 Feb. 3, 1809 Felix Mendelssohn (d. 1847) 27th Season Commissioned Works: April 1 Feb. 4, 1912 Erich Leinsdorf (d. 1993) Development: April 1 Feb. 5, 1911 Jussi Björling (d. 1960) clarinet Studios/Apartments: April 1 Feb. 6, 1903 Claudio Arrau (d. 1991) Feb. 7, 1878 Ossip Gabrilovich (d. 1936) Simon Aldrich REVIEW Feb. 8, 1932 John Towner Williams horn Get Smarter: Life and Business Lessons Feb. 9, 1885 Alban Berg (d. 1935) Louis-Philippe Marsolais By Seymour Schulich with Derek DeCloet Feb. 10, 1927 Leontyne Price violin 296 pages, Key Porter books, $29.95 Feb. 11, 1912 Rudolf Firkusny (d. 1994) Seymour Schulich’s recently released book, Get Feb. 12, 1923 Franco Zeffirelli Yukari Cousineau Smarter: Life and Business Lessons, is a highly Feb. 13, 1873 Feodor Chaliapin (d. 1938) violin entertaining read full of valuable insights and Feb. 14, 1959 Renée Fleming Alexander Lozowski tips, but a bit hard to classify. The Montreal-born Feb. 15, 1947 John Adams self-made billionaire turned philanthropist Feb. 16, 1938 John Corigliano viola recently endowed McGill’s music faculty with a Feb. 17, 1653 Arcangelo Corelli (d. 1713) Brian Bacon transformative gift, and has now written, along- Feb. 18, 1939 Marlos Nobre cello side Derek DeCloet, 49 short chapters of engag- Feb. 19, 1743 Luigi Boccherini (d. 1805) ing stories of wisdom and experience. Feb. 20, 1791 Carl Czerny (d. 1857) Alexandre Castonguay Although Schulich briefly recounts the history Feb. 21, 1927 Pierre Mercure (d. 1966) of his business investments in oil and mining in Feb. 22, 1817 Niels Gade (d. 1890) Works by Mozart, Martinu, Ysaÿe and Ireland the appendices of the book, Get Smarter is not a Feb. 23, 1685 George Frideric Handel typical business memoir, nor is it simply a strate- Feb. 24, 1934 Renata Scotto gy manual for business, or even a life manage- Feb. 25, 1873 Enrico Caruso (d. 1921) Thursday, February 21, 8 pm ment guide. Rather, it’s like taking a drive with Feb. 26, 1949 Emma Kirkby Redpath Hall, McGill University your favourite uncle and listening to him hold Feb. 27, 1897 Marian Anderson (d. 1993) forth on the distilled wisdom he has acquired Feb. 28, 1882 Geraldine Farrar (d. 1967) Admission free through a lifetime in business. Most of the chap- Feb. 28, 1792 Gioachino Rossini (d. 1868) ters discuss financial practices and ideas, ranging Compiled by Susan Callaghan www.allegrachambermusic.com from starting a business to venture capital to per- Visit http://blog.scena.org
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AÉ=>K:G:CBJH>FJ: A:H6GIH;>C6C8>ÝG:HJCA>;: /[ BILLETS EN VENTE :K(' ITALIA, ETC. LE SIÈCLE DES LUMIÈRES UNE SOIRÉE INTIME AVEC LA DE PARIS À BERLIN SOPRANO QUI A IMMORTALISÉ CARMEN AU GRAND ÉCRAN Après avoir joué aux côtés de Sting, Steven Tyler, Michael Bublé, le trompettiste de l’heure présente son ! nouveau spectacle Italia 8=G>H7DII> 6JIDJG9:A6;AæI: ÓÓÊ6, ,ÊUÊÓäÊ Ó£Ê6, ,ÊUÊÓäÊ THÉÂTRE MAISONNEUVE, PDA NOTRE-DAME-DE-BONSECOURS VIVALDI ET SES GITANS ?JA>6B><:C:H :CH:B7A:86EG>8: en collaboration avec BDO6GIE>6CDFJ6GI:I Ó£Ê6, ,ÊUÊÓäÊ ÓxÊ6, ,ÊUÊ£ÊÊÎä ÓnÊ6, ,ÊUÊÓäÊ THÉÂTRE MAISONNEUVE, PDA THÉÂTRE MAISONNEUVE, PDA NOTRE-DAME-DE-BONSECOURS À la fois comédiens, bricoleurs et musiciens, ils font revivre la magie des compositions du grand Ennio Morricone ! L’EXPÉRIENCE BARTÓK HE6<=:II>L:HI:GCDG8=:HIG6 Ó£Ê6, ,ÊÊ1ÊÓÎÊ6, ,ÊUÊÓäÊ A:HK>DADCH9JGDN E6I=IDE6G69>H: (23 février à 18 ÊÎäÊet 21 ÊÎä® ÓÎÊ6, ,ÊUÊÓäÊ ÓÊ ,-ÊUÊ£ÈÊ THÉÂTRE OUTREMONT SALLE PIERRE-MERCURE ÉGLISE SAINT-LÉON DE WESTMOUNT PLACE DES ARTS SALLE PIERRE-MERCURE 514 842-2112 / 1 866 842-2112 / pda.qc.ca DU CENTRE PIERRE-PÉLADEAU 7>AA:IH 514 790 -1245 / admission.com 514-790-1245 / admission.com THÉÂTRE OUTREMONT ACHATS EN PERSONNE 514 908-9090 / ticketpro.ca À LA BILLETTERIE CENTRALE DU FESTIVAL : CHAPELLE NOTRE-DAME-DE-BONSECOURS METROPOLIS ÉGLISE SAINT-LÉON DE WESTMOUNT 514-523-3611 / ensemblecaprice.com 59, rue Ste-Catherine Est 514 790-1245 / admission.com 514-790-1245 / admission.com De meilleurs sièges offerts en exclusivité aux titulaires >C;D"AJB>ÝG:/+'*(..#//++ '...*--#//++ de la Carte American ExpressMD! montrealenlumiere.com/ americanexpress CEDJH;7B;DBKC?;H;$9EC MD : utilisée par la Banque Amex du Canada en vertu d’une licence accordée par American Express. sm13-5_pxx_layoutwkc-Ads.qxd 1/29/08 10:40 PM Page 18 présenté par En collaboration avec Symphonie du Nouveau Monde de Dvorˇák L’incontournable Cinquième de Beethoven MARDI 26 MERCREDI 27 &³62)%2 20 h +%.4 .!'!./ chef d’orchestre -!44 (!)-/6)4: violoncelle 96%3 ,!-"%24 accordéon "%%4(/6%. Symphonie no 5 42%-",!9 Les Pierres crieront '/5'%/. Écoutez mon histoire, première mondiale, commande de l’OSM $6/2ˇÁK, Symphonie no 9, « du Nouveau Monde »