CONTENTS DECEMBER 2011 JANUARY 2012

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2 CONTENTS DECEMBER 2011 JANUARY NOTES» News in brief 10 DISCOVERY CD Antoine Bareil & Sébastien Lépine 12 Alexandre Da Costa 13 BEHIND THE SCENES J.P. Desrosiers, Personnalité Arts-Affaires 14 DIY» Muhly, Mazzoli & Crossover Composition 16 Maryvonne Kendergi: in memoriam 17 Steve Reich at Yannick Nézet-Séguin A Musical Journey 20 Opera: Il Trovatore 21 CALENDAR COVER» Lan Tung 23 REGIONAL CALENDAR 24 CONCERT PREVIEWS 28 PULLOUT CALENDAR 31 MUSICAL DIVERSIONS 36 Attila Glatz and Salute to Vienna 37 Concerts Against Cancer 38 JAZZ SECTION» Frank Lozano 42 REVIEWS» CDs, DVDs, Books 46 VARIATIONS ON A THEME Berlioz: Symphonie fantastique 48 CIOC Winner Christopher Lane 49 Raymond Cloutier» Heading the Conservatoire d art dramatique de Montréal 50 Arts this Winter Theatre, dance, visual arts 4 Ana SOKOLOVIĆ The Société de musique contemporaine du Québec is putting the spotlight on composer Ana Sokolovi this year for the third season of their Série Hommage, previously devoted to Claude Vivier and Gilles Tremblay. PHOTO Alain Lefort ILLUSTRATION Adam Norris FOUNDING EDITORS Wah Keung Chan, Philip Anson La Scena Musicale VOL DECEMBER JANUARY 2012 PUBLISHER La Scène Musicale EDITOR-IN-CHIEF Wah Keung Chan BOARD OF DIRECTORS Wah Keung Chan (pres.), Iwan Edwards, Holly Higgins-Jonas, Sandro Scola, CN MANAGING EDITORS Laura Bates, Crystal Chan CONTENT EDITOR Caroline Rodgers JAZZ EDITOR Marc Chénard PROOFREADERS Miriam Clouthier, Annie Prothin, Jef Wyns ART DIRECTOR Adam Norris GRAPHICS Rebecca Anne Clark, Bruno Dubois COVER PHOTO Alain Lefort OFFICE MANAGER Julie Berardino SUBSCRIPTIONS & DISTRIBUTION COORDINATOR Conor O Neil TRANSLATION INTERN Lynn Travers REGIONAL CALENDAR Eric Legault, Etienne Michel WEBSITE Normand Vandray, Michael Vincent, Yong Yan Wu BOOKKEEPERS Kamal Ait Mouhoub, Mourad Ben Achour ADVERTISING Smail Berraoui, Marc Chénard, Amina Douiri, Aly Drissi / ads.scena.org CONTRIBUTORS Lorena Jiménez Alonso, René François Auclair, Normand Babin, Louise Bail, Renée Banville, Francine Bélanger, Julie Beaulieu, Milan Bernard, René Bricault, Hélène Boucher, Frédéric Cardin, Éric Champagne, Mark Chodan, Marie-Astrid Colin, James Gartler, Tao Fei, Marie Labrecque, Annie Landreville, Alexandre Lazaridès, Philippe Michaud, Roxana Pasca, Hannah Rahimi, Lucie Renaud, Paul E. Robinson, Joseph K. So, Jacqueline Vanasse TRANSLATORS Rebecca Anne Clark, Miriam Cloutier, Natalie Gagnon, Luke Kumar, Dayna Lamothe, Ariadne Lih, Rona Nadler, Hélène Panneton, Karine Poznanski, Lynn Travers VOLUNTEERS Wah Wing Chan, Marie-Astrid Colin, Lilian I. Liganor, Michel Zambrano, Christine Lee ADDRESSES 5409, rue Waverly, Montréal (Québec) Canada H2T 2X8 Tel.: (514) Fax: (514) Production: Ver: La Scène Musicale SUBSCRIPTIONS Surface mail subscriptions (Canada) cost $42 / yr (taxes included) to cover postage and handling costs. Please mail, fax or your name, address, telephone no., fax no., and address. Donations are always welcome and are tax-deductible. (no RR0001). LA SCENA MUSICALE, published 10 times per year, is dedicated to the promotion of classical and jazz music. Each edition contains articles and reviews as well as calendars. LSM is published by La Scène Musicale, a non-profit organization. La Scena Musicale is the Italian translation of The Music Scene. All rights reserved. No part of this publication may be repro duced without the written permission of LSM. ISSN Print English version (La Scena Musicale) ISSN Online English version Canada Post Publication Mail Sales Agreement No

3 editorial by the NUMBERS 5 The number of CDs released in the last few months featuring the playing of jazz saxophonist Frank Lozano. Lozano is our jazz cover story. Lozano is our jazz cover story. Read it on page There are over 50 variations of related folk instruments to the erhu from China. Read our profile of Lan Tung, one of Canada s premier erhu players, on page The number of performances that violinist Antoine Bareil and cellist Sébastien Lépine performed in their famous 2008 Soaring Strings tour in Quebec-and Italy. Bareil and Lépine are this month s Discovery CD artists. Find out more about them on page The average age of Missy Mazzoli and Nico Muhly. These two composers are rising stars identified with the indie classical movement, which features the genre-crossing music of young musicians. Read more about Mazzoli, Muhly, and indie classical music on page Learn about Verdi s Il Trovatore on page 20. The number of operas composed by Verdi, the most frequently performed opera composer today. in mid-november, the El Sistema social arts education movement touched down in Quebec with an all-day conference at McGill University organized by the Quebec Music Educators Association. It was the culmination of three years of behind-thescenes work by Venezuelan-Canadian Avelino Rubilar, founder of El Sistema Quebec. Dr. Jonathan Govias (who penned a 10-part series on the subject for LSM last year) showed how the three-hours-a-day, six-days-a-week Venezuelan after-school program raised musical culture, improved group practicing, and most importantly kept kids off the street. In 37 years, it has grown from one group to 300,000 kids, and has branches around the world. University of Western Ontario s Dr. Ruth Wright explored how the socialist program could be successfully adapted in Canada, voicing some words of caution. It was motivating to see how music and the arts can make a fundamental change in a society. What struck me was the principle: shared experiences change lives. That very idea is in fact the motivation behind our Bring a Teen program, which helps youth discover culture. Why teens? First, the teenage years (12 to 18) are the most impressionable. Secondly, when we started the program, I found it strange that although there were lots of elementary school programs exposing children to the arts, arts groups were struggling to attract young adults. Teens were left out. Ten years later, that is still true. Our big idea is to expose teens to music and culture, and to turn adults, who constitute 95% of concert-going audiences, into mentors by sharing their passion. Parents, grandparents, siblings and teachers all have a role to play. In re-launching Bring a Teen at its 10 th anniversary, we plan a push-pull approach. Thanks to the FAMEQ (Fédération des associations de musiciens éducateurs du Québec) and posters printed by Payette & Simms, the program will be introduced to 72,000 Quebec music students through their music teachers. Our media partners include The Senior Times, The Montrealer, Radio Ville-Marie and Mountain Lake PBS. Furthermore, we will tap into the power of social media through our Facebook page: In La Scena Musicale, each BAT concert will be highlighted in a regular ad, plus spotlighted with the BAT logo in the regional calendar. All concerts are also listed in the BAT webpage where we also plan to include links to program notes. Beginning in February, LSM will introduce a new parents column with advice on how to prepare teens for concerts. So far, over 30 arts groups have signed on to offer over a thousand free tickets. To participate, call the BAT phone number for each event. An adult purchases the first ticket to get the second ticket free for the teen. Join the movement: share your passion, like the Facebook page, and blog your experience. Bring a Teen! WAH KEUNG CHAN, Founding Editor NEXT ISSUE» FEBRUARY 2012 THEME: STRING MANIA ADVERTISING DEADLINE: ON THE COVER: Antoine Tamestit PLUS: The Hagen Quartet, Ray Chen, Nikolaj Znaider, Mélisande McNabney 3

4 by CAROLINE RODGERS PHOTOS OF ANA SOKOLOVIĆ Alain Lefort 4

5 ON THE COVER the Société de musique contemporaine du Québec is putting the spotlight on composer Ana Sokolović this year for the third season of their Série Hommage, previously devoted to Claude Vivier and Gilles Tremblay. Born in Belgrade in 1968, the composer grew up in a creatively and culturally rich environment that gave her the opportunity, while still very young, to learn ballet, take piano lessons and act. She has been composing music for the theatre since her teen years. After studying composition at the University of Novi Sad and at the University of Belgrade, she taught for a few years before deciding to emigrate to Canada in She completed a Master s Degree in composition at the Université de Montréal with José Evangelista and married Jean Lesage, a fellow composer. For this neo-quebecoise, Montreal is an ideal environment for new music to flourish. Here, we are very closely linked to Europe, but there is a liberty in North America that Europeans do not have. The burden of tradition and judgment weighs little here; there is an extraordinary open-mindedness that doesn t exist anywhere else in the West. I am extremely happy to be able to work here. Ana Sokolović s work is rich and diverse; opera, chamber music, theatre and dance music, and pieces for solo instruments have all crossed her creative path. Many prestigious ensembles and soloists, for example the MSO and the Ensemble contemporain de Montréal, have commissioned pieces from her and performed her works. The public will discover Sokolović s colourful and original music, infused with the cultural baggage of her native country, thanks to more than 80 concerts and activities across the country that are part of the Série Hommage. Opera, the universal language Ana Sokolović has already written three operas, all of which were premiered in Toronto by the Queen of Puddings Music Theatre company. For her most recent opera, Svadba, which means marriage in Serbian, she drew on the model of Stravinsky s Noces, which tells the story of a peasant marriage in Russia. In this work for six female voices, Sokolović concentrates on the moments that come before the marriage, on what we call a bridal shower in North America. Her primary source: songs and texts related to this ritual at different times in the history of her native Serbia. It was very difficult to find texts, but I did succeed in finding, for example, a song used while the hair of the bride was coloured. I wrote the libretto myself, drawing on my research. I learned that the ritual of preparation for Ana Sokolović A Chronology 1968: Birth in Belgrade 1979: Actress at the National Yugoslav Theatre : Television program presenter : Studies in music at the University of Novi Sad 1992: Move to Montreal : Master s Degree in composition at the Université de Montréal : First professional concerts in Montreal 1996 à 2011: Composition and premieres of around forty works in Toronto, Montreal, Winnipeg, London, Halifax, and Banff marriage lasted seven days, so there are seven scenes in my opera. They include everything that can happen when you re very nervous during the preparation for an important event: funny moments, touching ones, confrontation. The work was premiered last summer in Toronto. Sung a cappella in Serbian, with English surtitles, it was described as a tour de force by critics and was very well received in general. Even if it s in Serbian, the theme is very universal, says the composer. There are surtitles, of course. Nevertheless, what matters most is not whether one understands all the words but whether one understands emotionally what is going on. I incorporate made-up language and onomatopoeia into the piece. I play extensively on the rhythms of the language; its colour and 5

6 ON THE COVER SVADBA PHOTOS John Lauener There is a liberty in North America that Europeans do not have. The burden of tradition and judgment weighs little here; there is an extraor - dinary open-mindedness that doesn t exist anywhere else in the West. I am extremely happy to be able to work here. pronunciation inspire my composition of the music. When choosing the main theme of an opera, universality is essential in her eyes. What interests me are the human archetypes presented, the ones that can be transposed to any age and to any nation. A young girl getting married, whether she is in India or Quebec, is embarking on a new chapter of her life. The emotional aspect I want to explore is present everywhere. Her two other operas, The Midnight Court and Love Songs, deal respectively with celibacy and love. The Midnight Court deals with celibacy problems in 19 th -century Ireland, and it is based on texts from 1870, she explains. But everyone can see themselves in the characters, because the themes are human, universal and very contemporary. Despite their success, Ana Sokolović would have very much liked to offer her operas to a Montreal audience! Very few operas are premiered here in comparison with Toronto, she says. Young composers want to write, young singers want to try new things, and young audiences are hungry for them, but there aren t many institutions that offer new operas. Today s music, today s culture Unfortunately, the words contemporary music often drive the public away a situation this composer wants to do all she can to change! I d like to demystify this word that scares people and that is linked, in their minds, to something unpleasant. They re wrong, because contemporary music, the music being written nowadays, is very different from what was being written forty or fifty years ago. During the years following the war, in the avant-garde, there was a desire to discover music in a new way by deconstructing the form and the parameters that had been in place for centuries. This period was necessary for the evolution of music; the phenomenon took place in all the arts. But today, new music takes on so many forms and follows so many paths that even specialists have difficulty finding their way around. Among the almost infinite choice of styles and influences, curious listeners can certainly find something to their liking, on 6

7 ANA SOKOLOVIĆ the condition that they try it! Still, if you ask the ordinary person on the street, it is very difficult to find someone who can name a single Quebecois composer. If people are unable to name Quebec composers, they will most likely also be unable to name painters or poets. The problem is not solely linked to music, she adds. On this note, according to Sokolović, the education system should play a more active role in discovery of the arts and development of general knowledge. The state should also support the arts and culture and do its part to make music accessible. But everyone must do his or her part. It is also up to us, the composers, to go out and get the audience. Culture stimulates the imagination. And we must not forget that the world will always be more interesting if we exercise our creativity in every area, whether it is the arts, sciences or politics. Without imagination, the world cannot go forward. HONOURS 1999: First Prize of the CBC Young Composers Competition and Grand Prize in all categories for Géométrie sentimentale 2005: Joseph S. Stauffer Prize from the du Canada Council for the Arts 2007: Prix Opus : composer of the year 2009: Canada s National Arts Centre Prize FREE CONCERTS The National Arts Centre Orchestra celebrates the life and music of Quebec composer and educator Jacques Hétu. JACQUES HÉTU CELEBRATION February 8 NAC Southam Hall 8 p.m. Pinchas Zukerman, conductor Alain Trudel, trombone Nathalie Paulin, soprano February 9 National Gallery of Canada 8 p.m. Joanna G froerer, flute Emily Marks, flute Joel Quarrington, double bass Performances of Ana Sokolović s pieces in December and January:» Université de Montréal Orchestra, December 3, 7:30 p.m., salle Claude-Champagne» Ensemble musique avenir, Conservatoire de musique de Montréal, December 7, 7:30 p.m.» Voice and saxophone concert, Tanna Schulich hall, January 13, 8:00 p.m.» Molinari Quartet, Conservatoire de musique de Montréal, January 26, 8:00 p.m. For a complete list of the events of the Série Hommage, visit the SMCQ s website at TRANSLATION: ARIADNE LIH nac-cna.ca Free tickets are available in 7

8 N TES by CRYSTAL CHAN, REBECCA ANNE CLARK, LORENA JIMÉNEZ ALONSO, PHILIPPE MICHAUD Universal and Sony Divide Up EMI EMI, Britain s only major music label, was dismantled this November in a buyout that saw its recorded music division sold to Universal Music for $1.9 billion. Meanwhile, a group of investors led by Sony obtained EMI s music publishing catalogue for $2.2 billion. Now that Universal, already an industry heavyweight, controls names like Radiohead, the Beatles, and Katy Perry, the company will likely have to dump some of its assets to satisfy antitrust regulations. Independent labels are concerned about the possible negative repercussions of the acquisition and how Universal s increased market influence will affect them. RC NÉZET-SÉGUIN AWARDED THE PRIX DENISE-PELLETIER The Prix Denise-Pelletier was recently presented by Minister Sam Hamad to Yannick Nézet-Seguin, principal conductor and artistic director of the Metro - politan Orchestra. This award is the most important conferred by the government of Quebec on a performing artist. This prestigious prize has been awarded in the past to outstanding artists including Felix Leclerc (1977), Gilles Vigneault (1983), Joseph Rouleau (1990) and Robert Lepage (2003). PM/LT PHOTO Marco Borggreve ALICE-HERZ-SOMMER & RAPHAEL SOMMER Menuhin Competition Inundated with Entries The Yehudi Menuhin International Competition for Young Violinists has received a record number of entries for Just 42 candidates will be selected from a pool of over 230 applicants. Founded in England in 1983, the Menuhin Competition has especially gained popularity in the US, Canada, Australia, and China following the success of previous winners such as Ray Chen, Chad Hoopes, and Kerson Leong. This year s event (April 6 to 15, 2012) will be held in Beijing and will feature master classes and performances by the celebrity jury. RC New Ideas in Opera: iphones and Wikileaks The Royal Opera House will enter the world of gaming with the launch of an iphone and ipad game. During a time of many funding cuts, they hope this will generate extra income and widen audiences. The Show Must Go On game offers players the opportunity to stage manage their own opera or ballet. Meanwhile, Opera Australia has started to work on an opera composed by Jonathan Dreyfus and based on Wikileaks and the life of its founder, Julian Assange. Eddie Perfect, who played Assange in initial workshops, told the Australian Broadcasting Company: It s got everything that a dramatic musical work needs. It s got heroes and villains. In fact, it s got a hero and villain combined in one. LJA Czech Pianist and Oldest Holocaust Survivor Turns 108 Alice Herz-Sommer, a pianist and music teacher, turned 108 on November 26, This makes her the oldest known Holocaust survivor. She was interned at the Theresienstadt concentration camp, which is known for having been the forced home of several artists and musicians. She survives her son, Raphael Sommer, who became a respected cellist and composer. A video collection of some of her interviews is viewable at play/17993?o=l She discusses, among other things, the concerts she was forced to perform at the camp. CC 8

9 NEWS IN BRIEF MARIE CHOUINARD PHOTO JF Gratton to listen to it, said Inge. The ongoing 9 Beet Stretch stream is available online in cooperation with the Amsterdam-based multimedia collective Park4DTV and their Raudio webcast radio. LJA DANCE Marie Chouinard launches award In celebration of the 20 th anniversary of the Compagnie Marie Chouinard, the popular choreographer has announced the Prix de la danse de Montréal. Held annually, this award will recognize the talent of Montreal s dance community. At the first awards ceremony, the winner will receive $5,000 from the Compagnie Marie Chouinard. Several artists from major organizations, such as l École supérieure de ballet du Québec, will participate in this program. PM / LT Contemporary dance mourns LADDMMI founder Candace Loubert Candace Loubert, co-founder of the École de danse contemporaine, has died at the age of 64. In 1981, along with Linda Rabin, she founded the Linda Rabin Danse Moderne school, which in 1984 was renamed Les Ateliers de danse moderne de Montréal (LADMMI). According to Yves Rocray, the school s managing director, this visionary artist and teacher had an important influence on the field of dance. Before creating LADMMI, Loubert danced on Europe s most renowned stages. She later joined Les Grands Ballets Canadiens. PM / LT CINEMA In memory of Gilles Carle Montreal s mayor, Gerald Tremblay, has announced the creation of Place Gilles-Carle, which will be close to Square Saint-Louis. Helen Fotopulos, the city executive responsible for heritage projects, said that the city made this symbolic gesture in order to honor the great artist who not only left his mark on Quebec and Canadian cinema, but also on the collective memory. He was a long-time resident of the Square Saint-Louis area. Carle passed away in PM / LT VISUAL ARTS 2011 Paul-Émile Borduas Award honours Gilles Mihalcean Gilles Mihalcean is the 2011 recipient of the Paul-Émile Borduas Award, which is granted by the Centre international d art contemporain de Montréal. Mihalcean s sculptures have been displayed in several art galleries in Montreal, as well as at the Musée d art contemporain de Montréal and the CIAC. In addition to being a celebrated sculptor for over 40 years, Mihalcean is also an advocate for artists. PM / LK PHOTO Normand Rajotte TRANSLATION: LUKE KUMAR, LYNN TRAVERS LSM Beethoven s 9 th Symphony stretched to 24 hours 9 Beet Stretch Beethoven s 9 th symphony stretched to 24 hours without pitch distortion was produced for the Manifesta 4 (Frankfurt 2002) by Norwegian conceptual artist Leif Inge and has been installed in a wide range of spaces, from bedrooms to huge industrial halls like the Kupfer Ironworks to churches such as the 11 th - century Bergen Cathedral. The slow playback is intended to ease listeners into a trance. This trance feeling, letting the sound just go on without trying to expect anything, is really the way Voilà, my one-year subscription to La Scena Musicale. I am now retired and want to stay up to-date with the musical scene and keep abreast of what my friends and former students are doing! Long live music! SONIA JELINKOVA Professor of violin at the McGill Conservatory of Music and member of the MSO for 25 years TRANSLATION: LYNN TRAVERS VISIT OUR WEBSITES FOR EVEN MORE MUSIC COVERAGE! News headlines from around the world at News & reviews at blog.scena.org Video of the Day Blog videoblog.scena.org 9

10 discovery cd Transposing Tradition by HÉLÈNE BOUCHER november 2nd saw the release of the second album by Trois-Rivières duo Antoine Bareil, violin, and Sébastien Lépine, cello. In Works for violin and cello based on old folk melodies, available in January 2012 on the XXI-21 label, the virtuosic duo take up the melodies that inspired the likes of Bartók, Dvořák, Smetana, and Stravinsky to introduce popular culture into classical music. Bareil and Lépine, crazy virtuosi The most recognizable thing about the Bareil-Lépine duo is the obvious pleasure they take in playing on stage. Their famous Soaring Strings concert impressed audiences in Quebec and Italy in Perfectly in sync, yet still fresh and impulsive, they thrilled 120 different audiences, both amateur and seasoned. Their first album, Works for violin & cello, was critically acclaimed, winning them the Prix Opus for disc of the year. The two performers established their duo in 2006, brought together by a common outlook on music and performance, and by a desire to stray from the beaten path. It s important for us to find and adapt a repertoire that will take the public where it wouldn t otherwise go, Antoine Bareil says. This public keeps coming back for more of Bareil and Lépine s brand of fun, as well as the accompanying musical education. The non-conformist spirit of these crazy strings is also seen in their direct contact with the audience. A tribute to the 20 th century The rapport between the violin-cello duo is also tied to their mutual affection for 20 th century repertoire. This is an affection born of necessity, relates Bareil: We had to find compositions which featured violin and cello equally. That took us away from Beethoven and Mozart. The 20 th century furnished the sound we were looking for. Ravel s Sonata for Violin and Cello, written in 1920 and dedicated to Debussy, was the duo s first project. Back to the people s folk music The idea for the second album took shape during Bareil and Lépine s latest Canadian tour. Our concert, Soaring Strings, made us realize that the public has a real feeling for folk melodies. Those songs clearly draw on a deep, collective sense of belonging, Bareil explains. This path of exploration led the way toward new compositions. Their research was successful, opening up varied musical horizons. At the head of the album is Béla Bartók s Hungarian Folk Melodies for Violin and Cello. Bartók s undertaking from 1905 to 1908 greatly inspired the duo in their own research. Bartók travelled throughout Hungary to collect his country s songs and melodies from the peasants. Oral tradition played a major role in his compositions, the duo explains. The album circles around the works of Belgian Joseph Jongen ( ), Norwegian Johan Halvorsen ( ), German Helmut Lipsky, and American Mark O Connor. A musical journey through the folk music of other times and places, Works for violin and cello based on old folk melodies is a harmonious whole, as Antoine Bareil attests: Touches of the American and Irish musical heritage can be heard, as well as influences from the waves of immigrants of the 20 th century. Transposing traditional music from another century does not seem to pose much of a challenge for the duo. Through their style of playing and their approach to repertoire, the pair sees an easy way to connect with music lovers of all ages. Music will always be that wonderful escape, that last refuge to stop everything, think things over, and dream, stated the violinist-composer. The album includes one of his pieces, composed in 2009, Variations sur Mon merle. Soaring Strings, which won the Louis-Philippe-Poisson Performing Arts award, will continue into The crazy virtuosi will then prepare themselves to tour their new album across Canada and eventually Europe, bringing along their joyous and impulsive stage presence. The pair have a few visual surprises up their sleeve, but nothing that will compromise their treasured contact with their audience. The musicians are looking forward to showing their skill on some extraordinary instruments: an 1800 Vuillaume violin and a Stradivarius cello from Is there a second Prix Opus (oh, how they wish!) in the duo s future? As long as music brings them joy, the duo will happily continue. For the December/January Discovery CD, La Scena Musicale and XXI-21 Productions present Antoine Bareil and Sébastien Lépine playing works for violin and cello duo. The Discovery CD is available free to our subscribers, or you can contact us directly for individual purchase. TRANSLATION: KARINE POZNANSKI LSM PHOTO Duchesne Côté 10

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12 PORTRAIT ALEXANDRE DA COSTA A passion for recordings by CAROLINE RODGERS at only 31 years old, violinist Alexandre Da Costa has already recorded his sixteenth CD. This fall, he released Fire and Blood, his first recording with the MSO and his first collaboration with Warner Classics. It also marked the occasion of the Quebec launch of the new record label Acacia, a cooperative formed by Da Costa and other musicians. The violinist freely admits that Fire and Blood has become one of his favourite recordings, which he hopes will be heard by a large audience. When he discovered this concerto, he quickly phoned the composer. Michael Daugherty, to tell him he wanted to record it. Since then, whenever a conductor has contacted him to play with an orchestra, Da Costa has tried to get Fire and Blood on the program. I wanted this concerto to be the first that I recorded with Warner, he said. It s written in a modern style but is easily approachable. It s tonal, understandable, and incorporates elements of Mexican and folk music. It falls somewhere PHOTO Bo Huang In composing Fire and Blood, Michael Daugherty was inspired by the Detroit Industry murals of Mexican painter Diego Rivera, which represent the auto industry in Detroit in the thirties. They inspired me to create my own musical fresco for violin and orchestra, he comments in the CD liner notes. On a musical level, he worked with violinists from different musical universes for inspiration, he explained to LSM in a phone interview. I listened to classical, between film and contemporary music and is a good introduction to modern music for neophytes. In my opinion, this is a good direction to explore for contemporary music. In concert, it s very successful. People go home with the same enthusiasm as if they had heard a work they ve known for a long time, like Tchaikovsky s concerto. Alexandre Da Costa feels at home in the world of recordings. I ve been lucky to have people around me who deeply love recorded music and who have communicated their passion to me, for example Johanne Goyette of ATMA, he explains. For him, CD recordings are an essential element in a musician s career. They serve as markers over the long term, he said. Concerts are the most important, but a concert is ephemeral, whereas a disc lasts your whole life. A recording shows the point you had reached as a musician at a particular time. When I listen to my first recording of the Tchaikovsky concerto from when I was 17, I could swear that it s not me at all! I will definitely record it again sometime, having reached a stage where I ve evolved enough musically to revisit works I ve already recorded. Motivated by his passion for recordings, and wanting to ensure the success of his beloved Fire and Blood in Quebec, Da Costa was spurred to launch the new Acacia record label. Pianist Wonny Song and conductor Jean-François Rivest, among others, have joined him in this venture. Our intention is to produce only four or five discs per year, but these will be high quality, hand-picked projects, he says. Worldwide, Fire and Blood is on the Warner Classics label, with which the violinist has signed a two-year contract. It was they who allowed this project to see the light of day, he says. But I convinced them that for Quebec, it was preferable to have a local label. For Warner, Quebec is a very small market, and for that reason they wouldn t necessarily have invested a lot of effort in promoting the disc. Whereas we have, in Quebec, specialized labels like ATMA and Analekta doing excellent work. Furthermore, most of the classical discs sold in PHOTO Yopie Prins MICHAEL DAUGHERTY DISCUSSES HIS WORK jazz, bluegrass and mariachi violinists in order to explore all the parameters of the instrument. I used musical ornamentation evoking Mexican music. I see my work as a composer a bit like that of a film director. If you directed a film on the life of Diego Rivera and Frida Kahlo, you would choose costumes that are typical of their country and their time. This was my guiding principle. I think that this is the kind of work one must do to write a concerto that stands out. Canada are sold in Quebec. If we do the promotion ourselves, we do a better job, even more so because for distribution we have the Universal machine behind us. He even insisted that the disc be recorded here, in Montreal, with the MSO. The recording took place in concert in November 2009, under the direction of Spanish conductor Pedro Halffter. The CD features two other works by Michael Daugherty: Fla mingo, for orchestra, and Ladder to the moon, a concerto for solo violin, wind octet, double bass and percussion. LSM TRANSLATION: RONA NADLER 12

13 BEHIND THE SCENES Jean-Pierre DESROSIERS Personnalité Arts-Affaires by CAROLINE RODGERS in May, Jean-Pierre Desrosiers, Certified Accountant with Fasken Martineau, was awarded the Prix Personnalité Arts- Affaires 2010 [Montreal Arts/Business Award, personality category] for his longstanding commitment to the arts. That Desrosiers candidacy was supported by a long list of artistic organizations speaks volumes about his contribution to our cultural milieu. He was sponsored by Angèle Dubeau et La Pietà, as well as by Les Productions Laure-Furey. The Théâtre du Rideau Vert, Mea Culpa Théâtre and the Cirque Éloize also supported Desrosiers candidacy. Desrosiers is vice-president of Angèle Dubeau et La Pietà s Board of Directors. As a fan of a variety of musical genres, he certainly attends symphonic concerts and opera, and enjoys Beethoven, Mozart and other composers. According to Desrosiers, being an avid arts fan is not necessary in order to be committed to supporting artists. For him, the most important source of motivation is connecting with people. Of course, I love the arts, he said. I own a collection of paintings and sculptures, and I enjoy going to concerts. But what I really like is meeting people, getting to know new people. When I see talented artists, I just want to help them. This is why he brings his abilities, expertise, business know-how and extensive network of contacts to benefit the organizations he wishes to help. Linking his innate business sense to the artistic domain is a blessing in difficult economic times. He has a gift for facilitating connections with the business community and starting up profitable partnerships. Thanks to people like him, artists and artisans can develop in a cultural industry that requires a happy marriage between the arts and business. When he believes in the talent of a young artist, or in an organization, he commits himself passionately to helping them, noted the Conseil des arts de Montréal [Montreal Arts Council] and the Chambre de commerce du Montréal métropolitain, the organizations that had awarded the Prix Arts-Affaires to Desrosiers. Non-profit organizations like La Pietà need people like me for their financial support, said Jean-Pierre Desrosiers. I like helping them with their benefit evenings and their fundraising campaigns. Artists are very different from me, and I get a lot from working with them. Musicians, for example, bring a sense of calm, of peace and a way of relaxing, forgetting about problems of everyday life. I have no artistic talent, I can t sing or play an instrument. However, I m very good at fundraising! Even though he enjoys classical music, his favourite repertoire is still a selection of the great French-language singers. I m still hooked on French songs: Brel, Ferré, Brassens, Françoise Hardy and our own Vigneault, Claude Léveillé. It s what I like best. I like the meaning of the words. With Ferré, it s about rebelling, Brassens, it s love, Brel, it s great love for his country. I appreciate the passion they put into their music. LSM Artists are very different from me, and I get a lot from working with them. TRANSLATION: KARINE POZNANSKI NEW BOURGIE HALL The Montreal Museum of Fine Arts SUNDAY, DECEMBER 18 \ 3 p.m. Musical Family Sundays A Christmas Carol, adapted from Dickens DECEMBER \ 2 p.m. Music and Dance in New France Les Idées heureuses THURSDAY, JANUARY 12 \ 6 p.m. Magillah Ensemble Klezmer music WEDNESDAY, JANUARY 18 \ 7.30 p.m. Les Violons du Roy Maurice Steger Encore Performance THURSDAY, JANUARY 19 \ 2 p.m. Espresso Concerts Les Violons du Roy Maurice Steger Encore Performance FRIDAY, JANUARY 20 \ 6.30 p.m. Mathieu Gaudet The Fugue from Bach to Feininger Season bourgiehall.ca , option Sherbrooke Street West Présented by 13 PHOTO Denis Gendron Photo: Paul Boisvert

14 MUSICULTURE to create music for a fake religion, says iwanted Missy Mazzoli, describing a composition-inprogress. My neighbour here in Brooklyn built his own house out of bottles, glass, and concrete. A homemade cathedral. There was something really spontaneous, joyful, exuberant, and obsessive about this art. That got me thinking about what the musical equivalent would be, about how religion still dominates a lot of music and has for 2,000 years or more. I love ecstatic religious music but felt alienated because I wasn t raised religious. I wanted to be a part of that in some weird little way. The piece will be based on Bach chorales but she s transformed it into something that is weird and new. Mazzoli is an indie classical composer (a term she uses). The term has floated around for a few years; crossover has for even longer. It has associated artists and record labels (New Amsterdam, Cantaloupe, Bedroom Community, even one launched by Sergei Prokofiev s grandson named Non Classical). Its definition and usefulness is debatable, but the term attempts to classify an increasing number of genre-confused artists like Mazzoli. Like her home cathedral inspired piece, most of her music is a bride s mix of something old, something new. Conservatory-trained at Boston University and Yale, Mazzoli also studied with Louis Andriessen in Amsterdam and her work has played at Carnegie Hall. But it has at pop venues, as well. And she has a band, Victoire albeit one which plays from scores and features strings and woodwinds instead of a singer. Nico Muhly is another indie classical composer based in New York. A Juilliard graduate with ties to Philip Glass, he s frequently in the spotlight, most recently for the premieres of two operas in Between classical music commissions (among others, he has written for Chris Lane: read a profile of the organist on page 48), he writes for pop musicians (including Björk, Grizzly Bear, Sigur Rós s Jónsi) and soundtracks. Muhly, like Mazzoli, mixes classic forms with new ideas; one of his operas, Two Boys, centres on internet chat rooms. Or take Keep in Touch, a viola chaconne interwoven with a tape part recorded by pop musician Antony Hegarty. Mazzoli s Dissolve, O My Heart for solo violin is also inspired by the chaconne, specifically Bach s D- minor; it opens with the same iconic triad. These two pieces and others are receiving their Canadian premieres at a Warhol Dervish concert, which will also see the Canadian premiere GJ. DIY Muhly, Mazzoli & u# % of a Kronos Quartet commission by Ottawan Richard Reed Parry, an Arcade Fire and Bell Orchestre member. Although not formally trained, Parry s instrumental compositions have gained ground. In fall 2011, the Kitchener Waterloo Symphony released a disc featuring Muhly and Parry. Mazzoli, Muhly, and Parry and a constellation of fellow composers dubbed indie classical are all young (Mazzoli s 31; Muhly, 30; Parry, 34), social media and pop culture savvy, and curious about bending genres. The problem with considering indie classical as a musical genre is that, unlike others, its music doesn t have a shared sound. That s what you get when plurality of inspiration is the point. It s more of a social movement than a musical one, Mazzoli explains. Waters get even murkier when you consider the distinction between pop music written by composers and instrumental music written by pop artists. Or, composers who are in pop bands but whose works in the two genres are not interdependent. This identification crisis a crisis mainly for critics rather than musicians questions the role of the composer above other musicians: a band s songwriters and performers are fused in pop but divided in classical, so as borders blur, composers are the first to re-navigate their place. Labels such as indie classical are created to define the shifts. But what, really, is so new about what s happening here that it necessitates new labels? Mixing old and new has been seen before, as have composers who veer towards and away from populism. Is indie classical just as oxymoronic and vague a name for a musical genre as contemporary classical? Crossover Composition by CRYSTAL CHAN Musical Aliens Twentieth-century instrumental music is often described as alienating. Stravinsky sounds alien, serialism sounds even more alien, and audiences get scared away. But musicians feel alienated, too, especially from the academic establishment. Mazzoli argues in an NPR blog editorial that academia is a gated community whose snubbing of pop-influenced music dissuades, among other things, ethnic and musical diversity. Sources of funding also hold composers at arm s length. There is less and less financial support from institutions to go around. Although this all happens more slowly and more invisibly in Canada than in New York, parallels are growing. These two, Ouroboros-like factors the lack of support from financial backers and the established arts community seem to have sparked the movement. Musicians who are increasingly unable or un- 14

15 INDIE CLASSICAL willing to rely on shrinking grants, foundations, and donors take cues from pop s cultivation of public support. They develop more band-like schemes (of course, the difference between smartening up and selling out is hotly contested). Mazzoli describes such an unconventional moneyraiser: I ve been hosting a lot of fundraising parties. I ve learned that what people want more than anything is access to you and the art in a meaningful way. I ll perform a section of a work a month before the premiere and use this as a way to talk about the work so that people that want to contribute to the project feel that they have a special in on it. It breaks down a lot of barriers, very quickly. And, forced to get creative about saving money, musicians ask friends for in-turn and lowpay contributions of talent on their projects instead of hiring externally. The perceived disinterest from academia also encourages musicians to look beyond their music school mentors and colleagues to find a new community. Sometimes they look outside classical music, or even music, sniffing out shared interests and ideas without regard to professional fields. Muhly describes such a self-made community: I make music with people I like; I happen to like lots of different people. I d love to collaborate with an architect! I don t see it as any big breaking out or crossing over [from classical music]. He may not have worked with an architect, but he has worked with a perfumer to create a scent opera, which premiered at the Guggenheim. As composers work with more varieties and numbers of colleagues, in turn a wider audience hears their music including those that may be interested in future collaboration. Finally, as composers write increasingly for themselves and their newfound communities of colleagues, they feel less restricted to styles favoured by academic grants. All this alienation and resulting cross-pollination encourages a DIY attitude. This do-it-yourself movement has come out recently out of necessity, Mazzoli believes. You re told that classical music is dead. There are no record labels or outlets for your music. Funding is drying up. We ve all heard that for our entire lives. So we re looking to each other and to different models of funding and producing concerts. I m very happy to be part of a group of young musicians who are interested in that, who are banding together to do something new, interesting and fun. Postmodern Playground MUHLY The music that I like the best whether it s classical or pop or whatever always has this element of familiarity mixed with a lot of great surprises. MISSY MAZZOLI Of course there s nothing new about the establishment s distaste for genre bending or multidisciplinary exchange. The difference here seems to be a matter of scale. We have a much bigger playground of information to work with, explains Warhol Dervish co-founder and violist Pemi Paull (an LSM contributor). There s a realization of how much variety there is in the world. When I was growing up Ravi Shankar was Indian music. But now you can listen to 10,000 Indian musicians, anytime you want. As is also the case outside music, the gap between each new standard becomes progressively shorter. For a long time, music could only be heard live. But then it spilled out onto records, then to tape, CD, downloads, streaming. As many have remarked, the move to digital is an important one as listeners are no longer encouraged to listen to an album in its entirety. A 2011 Nielsen-MIDEM study reports that even downloads are on the out, with more listeners streaming videos to listen to music than all music downloads combined. Since it is more or less instant, streaming indulges musical curiosity even more easily than downloading. Listeners can jump from one of the 10,000 Indian musicians to another then on to a Bach chaconne, interpreted a thousand ways. All this to say that indie classical composers, now 30- and 20-somethings, are among the first whose careers are unrolling at a time when easy access to all of recorded music is the norm. Youtube, the major source of video-music streaming, was only officially launched in November No matter that these numbers are not specific to classical music. In fact, that may be the point. Culture is a society s personality. These composers, like all artists, create works that reflect the sum of their ways of life and thinking. From music by long-decomposed composers to music premiered an hour earlier; from music made in PHOTO Samantha West Lhasa to music made in Chicoutimi. Musicians are eager to soak up as much as possible of the music that they now have unprecedented access to. Until recently, Paull observes, The singularity of your activities was sort of a benchmark of how good at it you were [as a musician]. Now, it s invaluable to learn different kinds of music. In turn, it s easier than ever for composers to find trained musicians who can and will play diverse styles. Closing yourself to the world beyond your music is actually considered a handicap. Muhly, who holds a Columbia English literature degree, does not even cite music when I ask what inspires his compositions. For me, the absolute best thing to do is to read voraciously, he says. Books, magazines, anything, and not about music. Reading cookbooks is exciting to me, reading historical novels is exciting to me, reading technical manuals about making knives is exciting. If you fall into a sort of rabbit hole on the Internet, that can be fun too. It s about being a visitor in a foreign space, which is, I think, the essential experience of listening to music. There s this old fashioned image of the composer as the silent genius who holes up in a 15

16 MUSICULTURE IN MEMORIAM Maryvonne Kendergi by LOUISE BAIL Author of Maryvonne Kendergi, La musique en partage (Hurtubise HMH, 2002) cabin and writes things and then sends them out into the world, Mazzoli agrees. But I think that that s really outdated. For many musicians today, composing seems to be as much about absorbing culture as it is about creating it. Music that only you can write It was, however, exactly this appetite for varied influences that Pulitzer Prize-winning critic Justin Davidson attacked in a March 2011 New York Magazine piece. Naming, among others, Muhly and Mazzoli as part of an omnivorous generation of composers who go merrily Dumpster-diving in styles of the past and of distant parts, he concludes that with their range of choices oppressively wide [their music] bristles with allusions and brims with ambition yet it somehow feels stifled by all that freedom. Is this the future that Alex Ross described, when reproduction will displace production and new music will consist of rearrangements of the old? When The Wall Street Journal asked him to comment on Davidson s argument, Muhly replied: That s just a boring ages argument [like] people who are horrified that now that you can get Thai green chillies in the supermarket, every hausfrau can cook up a curry. It s the end of the world! It s always been the case that young artists have more access to more things and the only question is whether you have the skills to use them. It s true that in other streams of music, such as rock or jazz or classical music before the 20 th century innovating on established forms is not considered uncreative pastiche. Mazzoli believes the sum of varied influences can in fact be the key, paradoxically, to a unique voice. You have to write the music that only you can write, Mazzoli says. But that springs from the sum of all your influences and experiences which are really unique to you. I try to write music that is really of my time and place in the world. I m not trying to recreate things that happened in the fifties, sixties, or even the nineties. My music comes from a lot of different places. The music that I like the best whether it s classical or pop or whatever always has this element of familiarity mixed with a lot of great surprises. The greatest surprise of all may be how we classify indie classical in fifty years. A marketing and media attempt to popularize instrumental music? Chronologically in a music history book some pages after minimalism? A death knell for classical music as a mainstream genre, the parallel to what Dylan or Davis going electric signalled for folk and jazz? Forgotten? Regardless, Mazzoli has one hope; that, in the future, people will really still be listening to the music. Perhaps she s right. Perhaps the music can speak for itself. LSM Warhol Dervish plays Muhly, Mazzoli, and Parry at Sala Rossa, followed by The Youjsh (another genre-busting ensemble). December 18 at 9 p.m. For more information on Warhol Dervish and the concert, visit This article is the first in a series exploring new music in a social context. Next edition The rise of start-up ensembles: what s behind the musical entrepreneurship trend? ON SEPTEMBER 27, 2011, Maryvonne Kendergi, a beacon of modern music in Quebec known as the grandmother of composers or the great lady of music, gently passed away at the age of 96. The title of Kendergi s memoirs, La musique en partage, aptly describes the personal and professional life of the composer, who used her talents in the service of those close to her and shared her savings with those less fortunate. Her accomplishments demonstrated her exceptional gifts as a presenter and organizer. The broadcast series Festivals européens ( ), where she reported on works from the great festivals of Europe, opened the doors to her brilliant career in radio. In 1961, with Pierre Mercure and Serge Garant, she organized the Semaine internationale de musique actuelle. At the instigation of Pierre Mercure, she helped establish the Société de musique contemporaine du Québec in 1966 alongside Serge Garant, Jean Papineau-Couture, Hugh Davidson and Wilfrid Pelletier. In 1967, she joined the University of Montreal s Faculty of Music. In 1970, she created and organized the Musialogues. In 1980, she readily lent her support to the Association pour l avancement de la recherche en musique du Québec (ARMuQ,. now known as the Société québécoise de recherche en musique or SQRM), becoming its first president. She also donated the Maryvonne Kendergi fund to the UdeM, from which scholarships are awarded annually to musicology students. Of Armenian origin, she was born during the First World War, on August 15, 1915 in Aintab (Gaziantep), on the southern border of modern Turkey. Survivors of genocide, her family moved to Aleppo, Syria. In 1928, the young Maryvonne completed her primary schooling with the Sisters of the Franciscan Missionaries of Mary, where she studied piano, discovering her musical vocation. She went to France to pursue her music studies at the École Normale de Musique in Paris with Nadia Boulanger. There, she completed a teaching degree (1933) before returning to the Middle East to try out a career as a concert artist ( ). During the war, she helped prisoners and refugees, organized food banks, and supported the rescue networks for Jewish children. After the war, thanks to the friendships she had developed during this period, she was entrusted with the organization and management of cultural activities at the Cité Universitaire de Paris ( ). While there, she rubbed shoulders with composers who introduced her to avant-garde music. She left Gravelbourg, Saskatchewan after four years in June 1956 to pursue a concert career in Paris, little knowing that as she passed through Montreal, Marc Thibault, director of the French radio network, would succeed in keeping her there with this prescient statement: Would you like to do what you are made to do? Wherever she went she carried with her a deep attachment to her Armenian roots, a steadfast appreciation for France, the country that gave her its language and culture, and an unequivocal allegiance to Quebec, where she eventually settled. LSM TRANSLATION: LYNN TRAVERS 16

17 75 th BIRTHDAY REICH by LUCIE RENAUD La Monte Young started it, Terry Riley (with his In C) provided the foundation, and Philip Glass reclaimed it, but many consider Steve Reich the most important figure in American minimalism. My generation is not a revolution. It was a restoration! A restoration of normalcy where popular sources were brought back into the normal situation of classical forces, and classical music music that I was writing, that Glass or Terry Riley was writing was interesting to the pop musicians, explained Steve Reich, his legendary baseball cap in place, at the outset of an interview given for the Domaine Privé concert, held to mark his 75 th birthday, at the Cité de la Musique de Paris, October 11 to 18. Born October 3, 1936, in New York, Steve Reich initially studied piano before turning to percussion after hearing Kenny Clarke, the drummer for Miles Davis. He studied philosophy at Cornell and deepened his understanding of music history before devoting himself to composition with jazzman Hall Overton, William Bergsma, and Vincent Persichetti at the Juilliard School, where he was a contemporary of Philip Glass. He found himself in California next, and worked with Darius Milhaud and Luciano Berio. He rejected serialism, but stayed close to the modal jazz of John Coltrane and discovered African rhythms and percussion, which would repetition without redundancy THE ESSENTIAL STEVE REICH It s Gonna Rain (1965) was designed around a repetitive motif and tape loops and essentially plays on the contrast between the human voice and electronic sounds. Music for 18 Musicians (1976) is based on eleven fundamental chords that serve as pillars for the entire work. During the creation of this piece, Reich studied the Balinese gamelan. Different Trains (1988) superimposes the voices of Pullman train conductors over those of Shoah survivors accompanied by a string quartet: the American Dream mingled with the horror of war. become the essence of the rhythmic cells in his writing. Swept up in the psychedelic wave, rock, he adopted an approach not devoid of tonal references. When he reflects on his years of study, Reich recalls the days when it was necessary for a young composer to master serial writing in order to be taken seriously by one s peers. I would say that I have a great deal more respect and regard for Webern than I do for Schoenberg because Schoenberg didn t understand that he was writing contrapuntal music; he thought he was writing romantic music with twelve-tone notes. Webern understood that this was a contrapuntal technique. That political power, that you must write this way, was very powerful in the academic world and throughout the musical world. I say that my generation brought that to an end. Steve Reich has achieved this tabula rasa especially by prioritizing the use of repetition, a strategy that allows him to create music as a gradual process. In a 1968 text, he clarified his approach: The distinctive thing about musical processes is that they determine all the note-tonote (sound-to-sound) details and the over all form simultaneously. (Think of a round or infinite canon.) I am interested in the perceptible processes. I want to be able to hear the processes happening throughout the sounding music. To facilitate closely detailed listening a musical process should happen extremely gradually. Unlike Cage, who uses random processes to influence the course of the narrative, Reich opts for a more collective search, a liberating ritual that permits multiple combinations of musical phrases from which he extracts the final material. What I m interested in is a compositional process and a sounding music that are one and the same thing. The use of hidden structural devices in music never appealed to me. Even when all the cards are on the table and everyone hears what is gradually happening in a musical process, there are still enough mysteries to satisfy all, he said. These mysteries are the impersonal, unintended, psycho-acoustic byproducts of the intended process. These might include City Life (1995) was built around the sounds of New York City and remains one of the composer s best-known works. Double Sextet (2007) won a Pulitzer Prize. Written for two identical sextets with interlacing motives. Reich considers this work among his most complete. WTC 9/11 (2011) has already been the source of much controversy, largely due to the original album artwork depicting the Twin Towers, which has since been changed. Written for three string quartets (one live, two recorded) and recorded voices, it is meant to be more dissonant. sub-melodies heard within repeated melodic patterns, stereophonic effects due to listener location, slight irregularities in performance, harmonics, difference tones, etc. Over the years, his musical language has evolved, but he favors small ensembles. If he composes little today, his works are played the world over, interesting even to electronica DJs. LSM Steve Reich s 2x5 will be performed at Acadia University in Wolfville, Nova Scotia on Feb. 4, Further performances of his work may be announced in the upcoming year. TRANSLATION: REBECCA ANNE CLARK 17

18 PHOTO Philippe Jasmin PORTRAIT NÉZET-SÉGUIN Yannick Nézet-Séguin A Musical Journey by WAH KEUNG CHAN Yannick Nézet-Séguin has made it to the top. He was recently named the young - est recipient of Quebec s highest prize for an artist, the Prix du Québec s Denise Pelletier award, usually given for lifetime achievement. The 36-year-old conductor, however, says: I still feel that I m at the beginning of my musical journey. But it s not only this prize; the true measure of success for an artist is international demand, and on December 10 th, Nézet-Séguin will be doing a double header normally reserved for the likes of Gergiev and Maazel. In the afternoon, Nézet-Séguin will be conducting Gounod s Faust live at the Met, broadcast to millions on the radio and in HD cinemas, and then immediately driven by car to Philadelphia for an evening concert (Tchaikovsky s Second Symphony will be on the program). With Nézet-Seguin at the helm, reviews have been superb for the financially troubled Philadelphia Orchestra. Less than a year from officially taking over as Music Director, Nézet-Séguin is full of optimism. The energy is really great, said the young maestro. I believe now that in a few months time, we ll be forgetting those financial troubles. It helps that the orchestra s home, the Kimmel Centre (an Artec hall) has undergone a recent refurbishment that has improved the way the orchestra can hear itself on stage. It has made a noticeable difference. However, nothing seems to beat the Maison symphonique de Montréal (another Artec hall), in Nézet-Séguin s opinion. He conducted his Orchestre Metropolitain in two different programs at Montreal s new concert hall for the first time in October And he has only good things to say. I have been in many Artec halls recently, and I feel this one is quite special. It s such a pleasure to play on stage and I was in the audience a lot during the rehearsals, listening and adjusting, said Nézet- Séguin, who believes once the adjustments have been made in a few years, this will be one of the finest halls in North America. How does it feel? It s very rare to say that an orchestra is able to hear themselves and each other so well. You don t have to make up for the lack of clarity on stage. This is really rare. In special halls like Amsterdam and Vienna, it s not so easy on stage. They are wonderful [in] their own right because they create a magnificent sound, but it s also a little bit capricious. Walt Disney Hall is praised as a great hall, but to me it is a bit too clear and clinical. In Montreal, I felt that there is always a certain resonance to the sound and atmosphere, which is also something I like. We hope to connect with the audience with NÉZET-SÉGUIN ON BACH S CHRISTMAS ORATORIO I think the Christmas Oratorio is a mixture of music that is folkloric, not spiritual. The opening chorus in unison is almost a vulgar effect for Bach. It s something that really represents all the people rejoicing. Yet you have so many numbers where the intimacy of the soloists is really extreme. I m thinking about many of the mezzo arias, and the fourth cantata has two of my most favourite arias. There is a soprano aria with an echo of oboe. It s such a pure manner of expressing the music and yet it creates such a big effect. The other is the tenor aria with two violins. We go to a more varied emotional journey than [with Handel s] Messiah because of the contrasts, which are so wide with the intimacies and the big chorus and the trumpets. Once we are immersed in the world of Bach, I think you can get every human emotion. much less effort compared to playing in Salle Wilfrid-Pelletier, Nézet- Séguin explained. We have to learn to [perform] at pianissimo and piano level. The quality has to be very different because we have to play softer. So there is a learning curve for every musician that will [perform] in this hall. In the second rehearsal, everyone said that if they played a wrong or imperfect intonation, they would hear it so much that it became intimidating individually. This is in a way a good thing, but it s a bad thing if it starts to have a thinner sound, so I had to encourage them to play slightly more, instead of being more timid with the playing. Those two concerts in October showed Nézet-Séguin and the OM in perfect accord. The performance of Strauss s Alpine Symphony showed a sumptuous orchestra sound, almost equaled in Nézet-Seguin s new recording of Bruckner s Fourth Symphony on ATMA. What s the secret? Nothing replaces time, said Nézet-Séguin. There still are many areas when I come to my players in OM, they already know what I want. I have developed [a relationship] with the musicians and it s beautiful to see how a partnership and relationship over time is better. For a young conductor, it seems odd that Nézet-Séguin would excel in the colossal works of Mahler and Bruckner. I sometimes ask myself why I m so attracted to and comfortable with these end-of-life and end-of-civilization works. I was attracted to Mahler s Second and Bruckner s Ninth and I decided to go with what I love most. In order to one day do them justice, it would be a good idea to start and have a fresh take on the way I did them when I was still in my 20s. Zubin Mehta did the same. The way I did them 10 years ago is different from the way I would do them now, and hopefully very different in 20 years time. LSM Yannick-Nézet Séguin conducts l Orchestre Métropolitain in Bach s Christmas Oratorio: December 11, 16, 17, 18 and

19 FREE CONCERT TICKETS! TEEN! BRING A Les Muses Chorale: Wassai! A collection of carols December 2, 7 pm 15 tickets Jeunes voix du coeur: Concert de Noël pour la famille December 3, 7:30 pm 15 tickets Ensemble de musique sacrée de Québec: Magnificat Concert de Noël a cappella December 4 and 18, 2 pm 20 tickets per concert I Musici : Concert de Noël with Chœur de Montréal and Natalie Choquette December 3, 7 :30 pm Brilliant Symphonies December 7 and 8, 7 :30 pm Bourgie Hall, Montréal Baroque Splendours December 15 and 16, 11 am and 5:45pm December 17, 2 pm Italian Sunset January 19 and 20, 11 am and 5:45pm January 21, 2 pm Tickets : Seraphim Chamber Choir: Rejoice! December 4, 3 pm 15 tickets Orchestre symphonique de Laval: Noël en choeur December 5 and 6, 8 pm 20 tickets per concert x3 Sainte-Anne Singers: Hodie! Hodie! December 9 and 10, 8 pm 15 tickets per concert Atelier lyrique de Chambly : Petit Noël d antan December 10, 7 pm 20 tickets Choeur Radio Ville-Marie: Messe de Minuit de Charpentier et chants de Noël de la Nouvelle-France December 11, 3 pm 25 tickets A bring a Teen ticket is offered for free with the purchase of an adult ticket. Be the future of classical music. Attend concerts today. ADO-TEEN.SCENA.ORG Pro Musica Society: St. Lawrence String Quartet December 12, 8 pm 20 tickets Orchestre symphonique de Drummondville: Nous sommes un cadeau! December 13, 7:30 pm 40 tickets Nouvelle Génération Chamber Orchestra: The Demons of the Vienna Woods December 15, 8 pm 5 tickets The Orpheus Singers: Lightening from the East December 17, 8 pm 10 tickets Attila Glatz Concert Production: Salute to Vienna January 1 and 2, 2 :30 pm 2 tickets per concert National Arts Centre Orchestra : Beethoven s Seventh: Symphony of Dance January 5 and 6, 8 pm Bruch and Beethoven January 11 and 12, 8 pm LMMC CONCERTS 120 th Season POLLACK HALL 555 Sherbrooke Street West Sundays at 3:30 p.m. Bond and Beyond January 19, 20 and 21, 8 pm 20 tickets per concert (ARTS) promo: ADO / TEEN Opéra de Montréal: Il Trovatore January 21, 24, 26 and 28, 7:30 pm 5 tickets per concert Segal Centre for Performing Arts : Fiesta Flamenco January 22, 2 :30 pm Schulich Benefit : McGill Jazz Orchestra One January 25 Coral Egan January 26, 7 :30 pm Unlimited tickets SMCQ Molinari Quartet: Four X Four January 26, 8 pm 20 tickets (24hrs in advance) Dec. 4 CHRISTIANNE STOTIJN, mezzo-soprano Mar. 25 MARC-ANDRÉ HAMELIN, piano Feb. 12 ANTOINE TAMESTIT, viola Apr. 15 ALBAN GERHARDT, cello Mar. 4 PACIFICA QUARTET, strings May 6 ARTEMIS QUARTETT, strings with Roger Tapping, viola Ticket: $ 35 / Students (26 yrs.): $ 15 Non-refundable - Taxes included LMMC 1410 Guy Street, Suite 12, Montréal QC H3H 2L7 Tel.: (514)

20 OPERA HIROMI OMURA will play Leonora in Montreal PHOTO Yves Renaud BELOW: JULIAN GAVIN will fill the role of Manrico PHOTO Clive Barda Il Trovatore SPOTLIGHT ON by JOSEPH K. SO warhorse, potboiler, overthe-top these are common descriptors of Verdi s Il Trovatore. One of the most parodied of operas, the Marx Brothers had a field day with it in A Night at the Opera, as did Gilbert and Sullivan in The Pirates of Penzance. Il Trovatore is one of the three most popular operas from Verdi s middle period, the others being Rigoletto and La traviata. Based on attendance figures worldwide from , Il Trovatore ranks 5th in popularity among 29 operas by Verdi, who in turn tops the list as the most frequently performed opera composer with a total of 2259 performances, beating out Mozart, Puccini, and Wagner, according to Operabase.com. Detractors of Il Trovatore love to poke fun at its outrageously improbable plot, oom-pahpah orchestration, stand-and-deliver principals, and one-dimensional characterizations. Indeed, Il Trovatore has everything but the kitchen sink a love triangle, mistaken identity, kidnapping, filial piety, revenge, murder, poison, suicide, burning at the stake, beheading you get the idea! Why then is Il Trovatore so popular? For starters, it has some of the catchiest tunes in all of opera who can resist the rousing Anvil Chorus, or remain unmoved by a thrilling high C that caps Manrico s Di quella pira? Il Trovatore is above all a singer s opera, requiring four great voices. Leonora must have a beautiful lirico-spinto with great flexibility and an exquisite high pianissimo. Fans expect Manrico to have a ringing high C for Di quella pira, never mind that Verdi never wrote it! When Riccardo Muti prohibited the late Sicilian tenor Salvatore Licitra from singing the C at La Scala, poor Licitra was almost booed off the stage by the rowdy loggionisti. As the bad guy, the baritone (Di Luna) should have the big, beefy, menacing sound of a Verdi baritone. A memorable Azucena is expected to tear up the stage with Strida la vampa. The Opéra de Montréal has assembled a strong LEONTYNE PRICE AS LEONORA AND JUSSI BJÖRLING AS MANRICO (1958) PHOTO Courtesy San Francisco Opera cast of principals. Japanese soprano Hiromi Omura, a fabulous Butterfly and Amelia from seasons past, returns as Leonora. She is partnered with Australian tenor Julian Gavin, who has the right Italianate spinto sound for Manrico. It ll be an exciting evening in the theatre. On disc This Verdi warhorse is well represented on disc, with nearly thirty audio and ten video recordings. Not to disparage contemporary singers, but the golden age of Il Trovatore is between 1950 and The legendary 1952 RCA set with the magnificent Jussi Björling (Manrico), Zinka Milanov (Leonora), Leonard Warren (Di Luna), and Fedora Barbieri (Azucena) remains a top choice after 60 years, despite the very dated sound. Leontyne Price, arguably the greatest Leonora of all time, is represented on disc four times! You can t do better than either her 1959 RCA studio recording with Richard Tucker, Rosalind Elias, and Leonard Warren, or the 1962 live performance from Salzburg with Franco Corelli, Giulietta Simionato, and Ettore Bastianini, under the baton of Karajan. Those who find the non-italian Björling too polite-sounding may prefer Corelli. Price s second RCA recording in 1969 with a young Sherrill Milnes and an even younger Placido Domingo is also a winner. Domingo recorded it two more times 1984 with Rosalind Plow - right on DG and 1991 with Aprile Millo on Sony, but his earlier recording is preferable. Pavarotti recorded Manrico beautifully for Decca in 1976 under Richard Bonynge; the rest of the cast (Sutherland, Horne, Wixell, Ghiaurov) is good if not exactly idiomatic. Jose Carreras unwisely took on Manrico, a role too heavy for his lyric tenor, in the 1980 Philips recording under Sir Colin Davis. His Leonora (Katia Ricciarelli) is equally wan. The more recent recordings are Bocelli and Villaroel on Decca (2004), Licitra and Frittoli on Sony (2000), and Alagna and Gheorghiu on EMI (2001) I m sorry to say none of these compares well with the best in the catalogue. There isn t a clear winner on video, as all the versions have strengths and liabilities. Domingo fans will love the 1978 Vienna State Opera performance on TDK conducted by Karajan. Raina Kabaivanska (Leonora) is lovely if a bit underpowered. Pavarotti and Dolora Zajick are both wonderful in the Met 1988 performance on DG, but Sherrill Milnes is past his prime and Eva Marton s unwieldy soprano and no high pianissimo are not ideal. The 1983 Opera Australia performance conducted by Richard Bonynge is strictly for fans of Dame Joan. The 1985 Verona performance has a fine Di Luna in Giorgio Zancanaro, but Franco Bonisolli and Rosalind Plowright are merely all right. The most recent videos are also a mixed bag. The 2002 Covent Garden performance benefits from a spectacular Di Luna by Dmitri Hvorostovsky, and Carlo Rizzi conducts well, but Jose Cura is vocally uneven. If you are dying to see Manrico carrying a machine gun and the story set in some sort of oil refinery, then the 2007 Bregenz performance on Opus Arte is for you. The singing by Carl Tanner and Iano Tamar is indifferent. The 2000 La Scala performance with Licitra and Frittoli conducted by Muti is a good choice, although, sadly, it is currently not available commercially. So the best version is the 1978 Domingo/Kabaivanska - /Karajan with the Vienna forces. LSM 20

21 the calendars previews classifieds DECEMBER 1 ST TO FEBUARY 7 TH GUIDE contents PULL-OUT CALENDAR REGIONAL CALENDAR CONCERT PREVIEWS CLASSIFIEDS GET LISTED Are you promoting an event? Visit calendar.help.scena.org for more information by CRYSTAL CHAN lan Tung inhabits a space of paradox: as a soloist and collaborator, a performer and composer, she sits at the crossroads between the East and the West, innovation and tradition. No wonder she founded an ensemble named Birds of Paradox. That particular project brings together Indian, Celtic and Chinese musical influences, but her many other projects the JUNO-nominated Orchid Ensemble, the Vancouver Inter-Cultural Orchestra, and Tandava being the main ones are no less melting pots of style.» CONT. ON PAGE 22 Lan There is so much more in music if you take away the boundaries between traditional and contemporary and see only music. LAN TUNG musical Tung polymath DEC. 21 Marc Hervieux 32 DEC. 8, 9, 13, 14 Handel s Messiah 27, 33 21

22 PORTRAIT LAN TUNG Taiwanese-born erhu player Tung is based in Vancouver, but her playing takes her on extensive, diverse tours. Often, she s soloing with an orchestra one week and playing for a visual arts/media or dance performance the next. In between gigs she studies fiddle-instruments around the globe with players of all stripes from the erhu, with principal players in China, Taiwan, Canada and the U.S. to improvisation with violinist Mary Oliver in Amsterdam, Hindustani classical music with Kala Ramnath in Bombay, Egyptian music and maqam with Dr. Alfred Gamil in Cairo, graphic scores and improvisation with Barry Guy in Switzerland, and vocal music and music therapy, to boot. Her projects straddle world, new, chamber, orchestral, and multidisciplinary music. The myriad influences show up in her compositions and improvisations. This is nothing new, she observes: the meeting point of cultures has been an inspiration for musicians around the world for centuries, she Musicians are interested in hearing different styles of music being mixed together. There may be a clash, a contradiction, but it s also where you get the new sounds to come out. says. It s very natural that musicians are interested in hearing different styles of music being mixed together. There may be a clash, a contradiction, but it s also where you get the new sounds to come out. I really enjoy playing with the tension between the differences and the common places. If versatility is her calling card when it comes to musical genres, ironically, it isn t when it comes to her instrument. Although Tung studied piano and guitar briefly while completing her post-secondary degrees, she has rarely strayed from the erhu since picking it up for the first time at age 10. I have a collection of other fiddle instruments from many different countries that I think maybe I ll learn to play but I just haven t got time to learn any of it! she says. There s still more to learn with the erhu. Yet, learning erhu was no more than a matter of convenience at the time. I just wanted to learn any musical instrument, she explains. Economically, Taiwan was still in the beginning of the big rise and so not that many families could afford a piano, piano lessons. When the Chinese orchestra [at school] started, it was a chance to learn musical instruments for free. I joined right away. The erhu is commonly described as a Chinese violin. It s a useful point of comparison: they re both wooden stringed instruments in the soprano voice range the erhu with a smaller two and a half octave range played with a horse-hair strung bow. But the erhu is held vertically on the player s lap and the bow is placed between the THE ERHU The erhu, unlike some other Chinese instruments, has a lot of ancient repertoire. The instrument is over 1,000 years old but it was played mainly in folk or opera music as accompaniment, so the standard erhu repertoire s earliest pieces date from the 1920s. To get initiated, start with Abing s Erquan Yingyue, one of the standards. There are many arrangements and recordings available, including on The Norton Recordings, ninth edition. two instead of four strings. You put rosin on both sides of the bow and one side plays one string and the other, the second. The underhand bow hold is more similar to a double bass German bow hold than the one used for violin similar to the way you hold chopsticks. There is no fingerboard: fingers press against the strings suspended over, instead of on, the wood. All this means the erhu can be played longer with less fatigue; pitch can be manipulated not only by moving up and down the fingerboard but also by varying the pressure on the strings, allowing for a second style of vibrato. Of course, there are differences between the prototypical erhu instruments and the standard classical erhu there are over 50 variations of related folk instruments from China. The strings were traditionally made of silk but are now commonly made of steel; Beijing opera instruments were made of bamboo, southern ones of coconut. Far from being tired of comparing the violin with the erhu, Tung believes the interplay between the familiar and the exotic is what makes intercultural and intergenre music affecting and inventive. When people listen to music, they naturally reference what they re familiar with, she explains. Listening to music is very subjective and based on people s experience. It may not be what the musicians or composer intends, but that s fine because that s what makes it work. For example, in my compositions I sometimes use Chinese melodies and then I ll twist them, make changes to them: the modes, the notes. That s really interesting to me because the ear is used to something and then you create a challenge by having a new sound. This is why I haven t got time to learn different instruments! I m learning music, not just Chinese music or the erhu. I get to learn musical languages. She pauses, then concludes: There is so much more in music if you take away the boundaries between traditional and contemporary and see only music. LSM Lan Tung solos on erhu with the Orchestre Metropolitain in Mark Armanini s Heartland: January 25, Église Notre-Damedes-Sept-Douleurs, Verdun January 26, Maison symphonique, Montreal January 28, Salle Désilets du Cégep Marie-Victorin, Rivière-des- Prairies PHOTO Art Illman PHOTO TO LEFT Nenad Stevanovic 22

23 REGIONAL CALENDAR from December 1, 2011 to February 7, 2012 Visit our website for the Canadian Classical Music Calendar SECTIONS PAGE Montréal and area Québec and area Elsewhere in Québec Ottawa-Gatineau Radio Deadline for the next issue: January 10 Procedure: calendar.help.scena.org Send photos to ABBREVIATIONS arr. arrangements, orchestration chef / dir. / cond. conductor (cr) work premiere FD freewill donation (e) excerpts FA free admission FPR free pass required MC Maison de la culture MetOp_HD Metropolitan Opera in High-Definition (either live from the Met in NY, or as an encore) O.S. orchestre symphonique RSVP please reserve your place in advance S.O. symphony orchestra x phone extension SYMBOLS USED FOR REPEAT PERFORMANCES f indicates dates (and regions if different) for all repeats of this event within this calendar. h indicates the date (and region if different) of the fully detailed listing (includes title, works, performers, and dates of all repeats within this calendar) corresponding to this repeat. Please note: Except otherwise mentioned, events listed below are concerts. For inquiries regarding listed events (e.g. last minute changes, cancellations, complete tick et price ranges), please use the phone numbers pro vided in the listings. Ticket prices are rounded off to the nearest dollar. Soloists mentioned without instrument are singers. Some listings below have been shortened because of space limitation; all listings can be found complete in our online calendar. MONTREAL REGION Unless indicated otherwise, events are in Montréal, and the area code is 514. Main ticket counters: Admission , ; Articulée ; McGill ; Place des Arts ; Ticketpro CCPCSH Centre culturel de Pointe-Claire Stewart Hall, 176 chemin du Bord-du-Lac, Pointe-Claire, CHBP Chapelle historique du Bon-Pasteur, 100 Sherbrooke Est, Ciné-Met MTL1 (for the MetOp_HD live broadcasts) Cinéplex Odeon Place Lasalle, 7852 Champlain; Cinéma Banque Scotia, 977 Ste-Catherine Ouest; Cinéma StarCité Montréal, 4825 Pierre-de-Coubertin; Cinéplex Odeon Quartier Latin, 350 Émery (près St- Denis & Maisonneuve); Cinéplex Odeon Cavendish Mall, 5800, boul. Cavendish; Cinéma Colisée Kirkland, 3200 Jean-Yves, Kirkland; Cinéma Colossus Laval, 2800 Cosmodôme, Laval; Cinéplex Odéon Brossard, 9350 boul. Leduc, Brossard; Cinéplex Odéon Boucherville, 20 boul. de la Montagne, Boucherville; Cinéma Capitol St-Jean, 286 Richelieu, St-Jean-sur-Richelieu Ciné-Met MTL2 (for the MetOp_HD encore broadcasts) Cinéplex Odeon Place Lasalle, 7852 Champlain; Cinéma Banque Scotia, 977 Ste-Catherine Ouest; Cinéma StarCité Montréal, 4825 Pierre-de- Coubertin; Cinéplex Odeon Quartier Latin, 350 Émery (près St-Denis & Maisonneuve); Cinéplex Odeon Cavendish Mall, 5800, boul. Cavendish; Cinéma Colossus Laval, 2800 Cosmodôme, Laval; Cinéplex Odéon Brossard, 9350 boul. Leduc, Brossard; Cinéplex Odéon Boucherville, 20 boul. de la Montagne, Boucherville; Cinéma Colisée Kirkland, 3200 Jean- Yves, Kirkland; Ciné-Met MTL3 (for the MetOp_HD Holiday Special Encores, 1st of 2 screenings) Cinéma Banque Scotia, 977 Ste-Catherine Ouest; Cinéma Starcité, 4825 Pierre-de-Coubertin; Cinéplex Odeon Cavendish Mall, 5800 boul. Cavendish; Cinéma Colisée Kirkland, 3200 Jean-Yves, Kirkland; Cinéplex Odeon Brossard, 9350 boul. Leduc, Brossard; Cinéma Colossus Laval, 2800 Cosmodôme, Laval Ciné-Met MTL4 (for the MetOp_HD Holiday Special Encores, 2nd of 2 screenings) Cinéma Banque Scotia, 977 Ste-Catherine Ouest; Cinéma Starcité, 4825 Pierre-de-Coubertin; Cinéma Colisée Kirkland, 3200 Jean-Yves, Kirkland; Cinéplex Odeon Brossard, 9350 boul. Leduc, Brossard; Cinéma Colossus Laval, 2800 Cosmodôme, Laval CMM Conservatoire de musique de Montréal, 4750 Henri-Julien, x221: SC Salle de concert ConcU Concordia University, : OPCH Oscar Peterson Concert Hall, 7141 Sherbrooke Ouest (Loyola campus) ÉGesù Église du Gesù, 1202 Bleury ÉSJB Église St-Jean-Baptiste, 309 Rachel Est: CSL Chapelle St-Louis, 4230 Drolet Maison JMC Maison des Jeunesses Musicales du Canada, 305 Mont-Royal Est, MBAM Musée des beaux-arts de Montréal, angle Sherbrooke Ouest et Crescent, : SBou Salle Bourgie, 1339 Sherbrooke Ouest McGU(mc) McGill University (main campus), : POL Pollack Hall, 555 Sherbrooke Ouest (coin University); RED Redpath Hall, 3461 McTavish (entrée du côté est); SCL Clara Lichtenstein Hall (C-209), 555 Sherbrooke Ouest (coin University); TSH Tanna Schulich Hall, 527 Sherbrooke Ouest (coin Aylmer) Ogilvy Magasin Ogilvy, 1307 Ste-Catherine Ouest: Tudor Salle Tudor, 5e étage PdA Place des Arts, 175 Ste-Catherine Ouest, : MSM Maison symphonique de Montréal, 1600 St-Urbain; SWP Salle Wilfrid-Pelletier SASP Église St. Andrew & St. Paul, Sherbrooke Ouest au bout de la rue Bishop, ThOutremont Théâtre Outremont, 1248 Bernard Ouest, UdM Université de Montréal; UdM-MUS Faculté de musique, 200 Vincent-d'Indy (métro Édouard-Montpetit), : B-421 Salle Jean-Papineau-Couture; B-484 Salle Serge-Garant; SCC Salle Claude-Champagne; Opéramania projection de vidéos d'opéras; commentaires sur l'ensemble; Michel Veilleux, conférencier; UdM-Laval UdM campus Laval, 1700 Jacques-Tétreault (angle boul. de l'avenir; métro Montmorency), Laval; UdM-Longueuil UdM campus Longueuil, 101 place Charles-Lemoyne, bureau 209 (face au métro Longueuil), Longueuil; Mat-Opéramania Les Matinées d'opéramania: projection de vidéos d'opéras; commentaires sur chaque scène; Michel Veilleux, conférencier DECEMBER Thursday 1 > 10am. CMM SC. 10$. Cours de maître. James Campbell, clarinette > 5pm. McGU(mc) TSH. FA. Chamber music. Students > 5pm. UdM-MUS B-484. EL. Classe de Claude Richard, violon > 6pm. MBAM SBou $. Exposition Big Bang. Les 5 à 7 en musique. Le Magasin de tissu. Jean Derome, échantillonnage, flûte, saxophone x4, > 7:30pm. ConcU OPCH. 0-5$. Concordia University, Department of Music, student concerts. University Chorus; Jean-Sébastien Allaire, cond.; Chamber Choir; Christopher Jackson, cond > 7:30pm. McGU(mc) POL. 10$. Karel Husa, R. Strauss, John Estacio, etc. McGill Wind Symphony; Alain Cazes, cond.; Andrew Dunn, trumpet > 7:30pm. UdM-MUS SCC. 0-12$. Maria Schneider. Big Band de l UdM; Maria Schneider, Ron Di Lauro, chefs > 8pm. ConcU OPCH. 0-5$. Concordia University, Department of Music, student concerts. Jazz Improvisation I. Class of Charles Ellison > 8pm. McGU(mc) TSH. FA. Chamber music. Students > 8pm. McGU(mc) SCL. FA. Jazz Combos > 8pm. McGU(mc) RED. FA. Masters Recital. Luke Fraser, guitar > 8pm. PdA MSM. 40$. Les grands concert du jeudi 1 Air Canada. Beethoven: Concerto pour piano #1; Vaughan Williams: The Wasps; A London Symphony. O.S. de Montréal; Roger Norrington, chef; Leif Ove Andsnes, piano > 8pm. Théâtre de la Ville, Salle Pratt & Whitney, 150 Gentilly Est, Longueuil $. Série Grands concerts. Noël tout en splendeur. Cantiques traditionnels de Noël. O.S. de Longueuil; Chorale Les Mélodistes; Marc David, chef; Marie-Josée Lord, soprano > 8:30pm. UdM-MUS B-484. EL. Olivia Le Roux, chant Friday 2 > 5pm. McGU(mc) RED. FA. Chamber music. Students > 5pm. McGU(mc) TSH. FA. Song Interpretation 2 Class; Michael McMahon, piano > 7pm. Christ Church Cathedral, 635 Ste-Catherine Ouest. 8-15$. Wassail! a collection of carols. Nancy Telfer: Magnificat; Mark Sirett: Song of Angels; Marie- Claire Saindon: Train d hiver; traditional and contemporary carols. Chorale Les Muses; Amy Henderson, director. > 7:30pm. CMM SC. 10$. Occident Orient. Takemitsu: Between Tides; Ravel: Trio en la mineur; Messiaen: Quatuor pour la Fin du temps. Trio Hochelaga , > 7:30pm. Église St-Laurent, 805 boul. Ste-Croix, St- Laurent. EL, CV. Handel: Messiah. Chorale et orchestre du Cégep Vanier; Philippe Bourque, chef; Julia Gavrilova, piano; Jacques Giroux, orgue; solistes étudiants x7324 > 7:30pm. McGU(mc) POL. 10$. McGill Sinfonietta; Alexis Hauser, cond > 7:30pm. UdM-MUS B $. Opéramania (projection commentée de films d opéra; Michel Veilleux, musicologue); soirée spéciale. Les meilleurs DVD et Blu-Ray d opéras réalisés de 2005 à (1er de 2) > 7:30pm. UdM-MUS B-484. EL. Prokofieff, Feld, Bach, Gougeon, Reinecke. Classe de Denis Bluteau, flûte > 8pm. ConcU OPCH. 0-5$. Concordia University, Department of Music, student concerts. Jazz Improvisation II. Class of Gary Schwartz > 8pm. Église Immaculée-Conception, 4201 Papineau. FA. Doctoral Recital. Jens Kornderfer, organ > 20h. Église St-Joachim, 2 Ste-Anne, Pointe-Claire. 8-16$. Grand concert. Lehár, Johann Strauss II, Schubert, etc. Ewald Chung, violon; Guy Beausoleil, narration; Caroline Bleau, Michelle Sutton, Sarkis Barsemain > 8pm. McGU(mc) RED. FA. Chamber music. Students > 8pm. McGU(mc) TSH. FA. Song Interpretation 2 Class; Michael McMahon, piano Saturday 3 > 12:30pm. Ciné-Met MTL $. MetOp_HD, Live. Handel: Rodelinda (durée approx. 4h15min). Harry Bicket, cond.; Renée Fleming, Stephanie Blythe, Andreas Scholl. (f 28/1 Montréal; 3/12, 28/1 Québec; 3/12, 28/1 Elsewhere in QC; 3/12, 28/1 Ottawa-Gatineau) > 3:30pm. CMM SC. 5$. Les Grands Ensembles. Vivaldi: Concerto, RV 144; Corelli: Concerto grosso, op.6 #12; Richard Meyer: Folk Song and Shanty. Orchestre à cordes junior du Conservatoire; Thomasine Leonard, chef > 5pm. McGU(mc) SCL. FA. Chamber music. Students > 7pm. Christ Church Cathedral, 635 Ste-Catherine Ouest $. A Children s Christmas. Tallis, Gruber, Britten, Johann Schulz, Marie Bachmann, Nancy Telfer, Peter Aston, John Gardner. Choeur des enfants de Montréal; Andrew Gray, Amy Henderson, cond.; Dominique Roy, piano > 7:30pm. École de musique Vincent-d Indy, Salle Marie-Stéphane, 628 chemin Côte-Ste-Catherine. 5-15$. Noël, une merveilleuse histoire (concert avec mise en scène). Gilles Vigneault, F. Blanche, traditionnels français anglais, espagnols, grégoriens, etc. (arr. Patenaude). Choeur Les Voix d Elles; Gilbert Patenaude, chef; Mariane Patenaude, piano > 7:30pm. Église Sacré- Coeur, 105 chemin du Richelieu, McMasterville. 5-15$. Concert de Noël pour la famille. Musique pop; Noël roumain; Noël c est l amour; chant africain: Zomina; etc. Les Jeunes voix du coeur; Julie Dufresne, chef; Anik Paquet, violon; Marie Muller, piano > 7:30pm. McGU(mc) POL. 10$. McGill Sinfonietta; Alexis Hauser, cond > 7:30pm. McGU(mc) RED. FA. Opera McGill > 7:30pm. UdM-MUS SCC. 0-12$. SMCQ Série Hommage/Ana Sokolovic. La Symphonie dans tous ses états. Ana Sokolovic: Nine Proverbs; Messiaen: Les Offrandes oubliées; Schubert: Symphonie #9 La Grande. Orchestre de l Université de Montréal; Jean- François Rivest, chef > 8pm. Église St-Esprit, 2851 Masson (angle 6e avenue) $. Noël avec Natalie Choquette. John Rutter: Candlelight Carol; What Sweeter Music; Dormi, Jesu; Jesus Child; Nativity Carol; Angels Carol; Shepherd s Pipe Carol; There Is a Flower; etc.; Raymond Daveluy (arr.), Ernest Gagnon(arr.): cantiques de Noël traditionnels français. Grand Choeur de Montréal; I Musici de Montréal; Martin Dagenais, chef; Natalie Choquette, soprano > 8pm. Maison de la culture Ahuntsic-Cartierville, Lajeunesse, 1er étage. 10$. Des mots sur mesures. Musique québécoise, juive, turque, latine, chinoise, africaine. Ensemble Shtreiml; Ensemble Burdha > 8pm. McGU(mc) SCL. FA. Chamber music. Students > 8pm. PdA MSM. 35$. L OSM présente: Les Récitals. Mozart: Sonate #8, K.310; Berg: Sonate, op.1; Liszt: Sonate, S.178; Bartok: Six danses populaires roumaines. Hélène Grimaud, piano Sunday 4 > 10:45am. SASP. CV. 2e dimanche de l Avent. Pachelbel: Freu dich sehr, o meine Seele; Poston: Jesus Christ, the apple tree; Handel: Messiah: And the glory of the Lord ; Guilmant: March on a theme of Handel, op.15 #3. Choeur de St. Andrew and St. Paul; Jordan de Souza, chef; Jonathan Oldengarm, orgue > 12pm. Centre de Création artistique de Laval, 430 5e Rue (Laval-des-Rapides), Laval. 10$, croissant et café inclus. Théâtre d art lyrique de Laval, Midi-concert. Mélodies, airs d opéras > 2pm. Institut universitaire de gériatrie de Montréal, Auditorium, 4565 ch. Queen-Mary. 15$. Schumann: Symphonie #1; Vivaldi, Weber, Arriaga, Ravel. O.S. CAMMAC Montréal; Jean-Pierre Brunet, chef > 2pm. PdA SWP $. Opéra de Montréal. Gala, événement bénéfice , > 2pm. Théâtre de la Ville, Salle Pratt & Whitney, 150 Gentilly Est, Longueuil. 5$. Concert de Noël (exclusivement pour les résidents du Vieux-Longueuil). O.S. de Longueuil; O.S. des jeunes de la Montérégie; Marc David, chef > 2:30pm. Église St-Viateur, 1175 Laurier Ouest (angle Bloomfield), Outremont $. Concert de Noël. Mozart: Beatus Vir; Bach: Ehre sei dir Gott; Britten: Missa Brevis. Les Petits Chanteurs du Mont- Royal; Gilbert Patenaude, chef; Dominique Lupien, orgue x228 > 2:30pm. St. John s Lutheran Church, 3594 Jeanne- Mance (coin Prince-Arthur). Freewill offering. Serenata at St. John s. Boccherini: La musica notturna di Madrid; Purcell: Hear my prayer, O Lord; Eric Whitacre: Lux Aurumque; Pawel Lukaszewski: Crucem tuam adoramus; Bach: cantata Herz und Mund und Tat und Leben, BWV 147. voces boreales; Michael Zaugg, cond.; 11 musicians; Dawn Bailey, Meagan Zantingh, Michiel Schrey, Vincent Ranallo > 3pm. CCPCSH. LP. Rendez-vous de dimanche. Piano paradiso: musique de film. Georges Delerue: hommage au réalisateur Philippe de Broca; Cinema Paradiso, The Mission, Titanic, Amélie Poulin. Ensemble En-le-vent, flûtes, violoncelle, piano > 3pm. CMM SC $. Série Vingtième et plus. Schulhoff: Quatuor #1; Wolfgang Rihm: Grave in memoriam Thomas Kakuska; Berg: Suite lyrique. Quatuor Molinari > 3pm. Église catholique de St-Lambert, 41 Lorne, St- Lambert $. Noël dans toute sa splendeur, Christmas Phantasy. Bach: Cantata 140 Wachet auf (e); Paul Halley: Freedom Trilogy; trad. Christmas music. Société chorale de St-Lambert; South Shore Children s Chorus; David Christiani, Betty-Jo Christiani, chefs; orchestre (strings, african percussion); Chad Heltzel, piano , > 3pm. Église unie St-Jean, 110 Ste-Catherine Est. 0-25$. Les Sept Cloches de Bethléem. Arvo Pärt, Byrd, Górecki, John Tavener, etc. Choeur de chambre Tactus; Simon Fournier, chef; Étienne Pilon, narrateur. (f 10) > 3pm. Gesù centre de créativité, 1200 Bleury. 12$. Rejoice!. Poulenc: Quatre motets pour le temps de Nöel; Bach: Lobet den Herrn; Duruflé: Quatre motets sur 23

24 CONCERT Previews by RENÉE BANVILLE, MILAN BERNARD, JACQUELINE VANASSE, MARIE-ASTRID COLIN MONTREAL CHRISTMAS CELEBRATIONS IN UNISON The singers and musicians of the Studio de musique ancienne de Montréal and their conductor Christopher Jackson will present a sumptuous program on the 18 at 3 p.m., including Gabrieli s pieces for choir and brass just perfect for the upcoming Christmas holidays. Saint- Léon church, Westmount. The great holiday musical tradition will continue at the Church of Saint Andrew and Saint Paul. Particularly of note are CBC Radio s annual Sing-In (Sunday the 4, 3 p.m.) and Carols by Candlelight (Sunday the 18, 4:30 p.m.). Musical director and organist: Dr Jonathan Oldengarm. Musicians and singers under the direction of Jordan de Souza. During the solemn Nativity mass on December 24, the professional choir of the Notre-Dame Basilica will sing Marc-Antoine Charpentier s famous Messe de Minuit under the direction of Béatrice Baillargeon. With Pierre Grand-Maison on the organ. Soloists and times to be confirmed. Tickets required. Directed by Miklόs Takaćs, the Montreal Philharmonic Society and the singers and instrumentalists of the Université de Québec à Montréal Choir will perform Noël des nations with arrangements by Miklόs Takaćs in addition to Bach s Quodlibet, BWV 524. Saturday the 10, 8 p.m., Chapelle historique du Bon-Pasteur. RB CLASSIC CHRISTMAS FAVOURITES CHRISTOPHER JACKSON JORDAN DE SOUSA PHOTO Emily Ding On December 10, the Chœur Classique Vaudreuil-Soulanges gives a Christmas concert at the Sainte-Rose de Lima Church in Île-Perrot, under the baton of ADISQ-nominated Jean-Pascal Hamelin. The program includes your Christmas favourites by Bach, Rameau, Berlioz, Rachmaninov, André Mathieu and many more, sung in French, English, Russian, German, and Latin. JV 24 des thèmes grégoriens. Seraphim chamber choir; Amy Henderson, cond. > 3pm. MBAM. FD. Christmas Concerts at the Museum. Concerto Della Donna > 3pm. UdM-MUS B-421. EL. Bach, Debussy, Handel, Mozart. Classe de Yolande Parent, chant > 3:30pm. McGU(mc) POL $. LMMC Concerts. Schumann, Eisler, Mahler. Christianne Stotijn, mezzo; Julius Drake, piano > 4pm. St. John s United Church, 98 Aurora, Pointe-Claire. 15$. Sounds Like Christmas, benefit concert for the St. John s United Roof Fund. Marina Krejcarova, soprano; Jan Krejcar, piano; St. John s United Church Choir. Handel, Mozart, Rachmaninoff, Schumann, Puccini, Bizet, etc , > 4:15pm. ÉSJB CSL. EL, CV. Les Dominicales. Sylvie Ouellette, flûte; Yves G. Préfontaine, orgue. (Précède le service de 17h) > 7:30pm. Église de la Nativité de la Ste-Vierge, 155 chemin St-Jean, Laprairie $. Concert bénéfice de la Fondation Jean-de-la-Mennais: Sur une note de solidarité. Cantiques traditionnels de Noël. O.S. de Longueuil; chorale des élèves du Collège Jean-de-la-Mennais; Marc David, chef; Marie- Josée Lord, soprano x2339 > 7:30pm. SASP. CV. CBC Sing-Along. Cantiques traditionnels de Noël. Choeur et orchestre de St. Andrew and St. Paul; Jordan de Souza, chef; Jonathan Oldengarm, orgue. (participation du public lors des cantiques) > 7:30pm. UdM-MUS B-484. EL. Rodrigo, Sainz de la Maza, Martin. Classe de Peter McCutcheon, guitare > 8pm. McGU(mc) RED. FA. Class of David Martin, trombone choir > 8pm. McGU(mc) SCL. FA. Class of Winston Purdy, voice Monday 5 > 5pm. McGU(mc) POL. FA. Masters of Music. Benjamin Henriques, saxophone > 5pm. UdM-MUS B-421. EL. Classe de Maneli Pirzadeh, piano > 7pm. McGU(mc) SCL. FA. Class of Ilya Poletaev, piano > 7:30pm. McGU(mc) RED. 10$. McGill Baroque Orchestra; Schulich School Singers; Matthias Maute, cond > 7:30pm. McGU(mc) TSH. 10$. McGill Jazz Orchestra 3; Domenic Rossi, cond > 7:30pm. UdM-MUS B-421. EL. Chopin, Liszt, Albeniz, Mozart. Classe de Jimmy Brière, piano > 8pm. Salle André- Mathieu, 475 boul. de l Avenir, Laval $. Noël en choeur. Tchaïkovsky: Casse-noisette, Valse des fleurs; Bach: Wachet auf, ruft und die Stimme, BWV 140; André Jutras: Suite folklorique; Handel: Messiah, Hallelujah; L. Anderson: Sleighride; airs traditionnels de saison. O.S. de Laval; Alain Trudel, chef (f 6) > 8pm. UdM-MUS B-484. EL. Bach, Kabalevsky, Schubert, Cassadó, Debussy, Britten, Beethoven. Classe de Johanne Perron, violoncelle Tuesday 6 > 1:30pm. Université de Montréal, campus Laval, 1700 Jacques-Tétreault (angle boul. de l Avenir; métro Montmorency), Laval. 12$. Matinées d Opéramania Laval. Tchaïkovski: Eugène Onéguine. Wojciech Drabowicz, Elena Prokina, Martin Thompson, Louise Winter, Frode Olsen; Andrew Davis, chef , (f 13) > 3:30pm. McGU(mc) SCL. FA. Class of Sara Laimon, piano > 7pm. McGU(mc) POL. FA. Lab Band Class; Debbie Best, cond > 7:30pm. CMM SC. 5$. Les Grands Ensembles. Bach, Ortiz, Purcell, Frescobaldi. Ensembles de musique baroque du Conservatoire; Luc Beauséjour, Mireille Lagacé, chefs > 7:30pm. Maison de la culture Rosemont-La-Petite- Patrie, 6707 de Lorimier. EL. Chorale jazz; Ensemble vocal jazz; Vincent Morel, dir.; classes de Vincent Morel et Hélène Martel, chant jazz , > 7:30pm. UdM-MUS B-484. EL. Desenclos, Tomasi, Molinelli, Marin Marais, Théberge, Rossé. Classe de Jean-François Guay, saxophone > 7:30pm. UdM-MUS B-421. EL. Fauré, Franck, Ligeti, Schumann. Classe de Yegor Dyachkov, violoncelle > 8pm. McGU(mc) TSH. FA. Class of Garry Antonio, guitar > 8pm. PdA MSM. 40$. Les grands concerts du mardi Homeocan. François Morel: Il faut inventer la terre; Holst: Les Planètes; Colin Matthews: Pluto The Renewer. O.S. de Montréal; Choeur de femmes de l OSM; Ludovic Morlot, chef > 8pm. Salle André- Mathieu, 475 boul. de l Avenir, Laval $. O.S. Laval, Noël (h 5) Wednesday 7 > 1:30pm. Université de Montréal, campus Longueuil, 101 place Charles-Lemoyne, bureau 209 (face au métro Longueuil), Longueuil. 12$. Matinées d Opéramania Longueuil. Handel: Tamerlano. Monica Bacelli, Plácido Domingo, Ingela Bohlin, Sara Mingardo, Jennifer Holloway; Paul Mc- Creesh, chef , (f 14) > 5pm. UdM-MUS B-421. EL. C.P.E. Bach, Mozart, Poulenc, Pasculli, Micheline Coulombe Saint-Marcoux. Classe de Lise Beauchamp, hautbois > 5pm. UdM-MUS B-484. EL. Schubert, Brahms, Dvorak, Piazzolla, Tchaïkovski. Classe de Jutta Puchhammer, musique de chambre > 7pm. UdM-MUS SCC. EL. Lutoslawski, Mozart. Justyna Gabzdyl, piano > 7:30pm. Centre culturel et communautaire Henri- Lemieux, Théâtre du Grand Sault, 7644 Edouard, LaSalle. 12$. Ciné-concert. La ruée vers l or (film muet, É.U., 1925, 72 min., Charles Chaplin); Roman Zavada: compositions originales. Roman Zavada, piano > 7:30pm. CMM SC. EL. Musique d aujourd hui. Stravinsky, Ana Sokolovic, Émilie Girard-Charest, Alexis Aubin- Marchand. Élèves du Conservatoire; Véronique Lacroix, chef > 7:30pm. MBAM SBou $. Série Centre-ville. Symphonies lumineuses. Beethoven: Symphonie #4, op.60; Symphonie #7, op.92. I Musici de Montréal; Jean-Marie Zeitouni, chef (f 8) > 7:30pm. UdM-MUS B-421. EL. Bach, Bartok, Denis Gougeon, Liszt. Classe de Daniel Moran, piano > 8pm. CHBP. 5-20$. Concert autour des cordes. Martin Matalon: Trame XI; etc. Nouvel Ensemble Moderne; Lorraine Vaillancourt, chef; Yannick Chênevert, contrebasse > 8pm. Christ Church Cathedral, 635 Ste-Catherine Ouest $. Les éléments de la saison. Concerto Della Donna (f 11) > 8pm. ConcU OPCH. 0-5$. Concordia University, Department of Music, student concerts. Class of Gregory Chaverdian, chamber ensemble, piano > 8pm. Église St-Hubert, 5310 chemin Chambly, St- Hubert. 7-17$. Série Portée pédagogique de la CSMV. Concert de Noël. Cantiques traditionnels de Noël. O.S. de Longueuil; Chorale de l école primaire Les Petits-Explorateurs; Chorale de l école secondaire St-Edmond; Marc David, chef > 8pm. Maison de la culture Rosemont-La-Petite-Patrie, Studio 1, 6707 de Lorimier. LP. Noël remix. Stacey Brown: No(t)well 2.0 or Looking for Christmas in all the Wrong Places (création); Éric Champagne: La nuit la plus longue (création); Benoît Côté: Renaissance (création); Messiaen, George Crumb, Tchaïkovski. Matthieu Fortin, piano > 8pm. UdM-MUS B-484. EL. Schubert, Brahms, Dvorak, Piazzolla, Tchaïkovski. Classe de Jutta Puchhammer, musique de chambre Thursday 8 > 12:30pm. McGU(mc) TSH. FA. Undergraduate Exam- Recital. Mengje Xiong, piano > 1:30pm. McGU(mc) TSH. FA. Undergraduate Exam- Recital. Maya Rand, piano > 2:30pm. McGU(mc) TSH. FA. Undergraduate Exam- Recital. Jack Olszewski, piano > 3:30pm. McGU(mc) TSH. FA. Undergraduate Exam- Recital. Sarah Aleem, piano > 4:30pm. McGU(mc) TSH. FA. Undergraduate Exam- Recital. Lawrence Shirkie, baritone > 7:30pm. CMM SC. 5$. Les Grands Ensembles. Mozart: Sérénade pour vents, K.375; Dvorák: Suite tchèque. Ensemble à vent du Conservatoire; Véronique Lacroix, chef > 7:30pm. MBAM SBou $. Série Centre-ville. I Musici, Beethoven 4& (h 7) > 7:30pm. UdM-MUS B-484. EL. Classes de Vincent Morel et Hélène Martel, chant jazz > 7:30pm. UdM-MUS SCC. EL. Ives: Country Band March; Philip Glass: Saxophone Quartet; Copland: Quiet City; Revueltas: Sensemayá; Evelin Ramon: Accumulations (création); Persichetti: Celebrations, op.103. Les Grands Vents de Montréal; David Martin, chef; Choeur de l UdM; Raymond Perrin, chef; Thierry Champs, trompette > 7:30pm. UdM-MUS B-421. EL. Bach, Haydn, Beethoven, Brahms, Chopin, Liszt, Rachmaninoff, Scriabine. Classe de Jean Saulnier, piano > 8pm. CHBP. LP. Ravel, Fauré, Debussy, Franck. Olivier Thouin, violon; François Zeitouni, piano > 8pm. ConcU OPCH. 0-5$. Concordia University, Department of Music, student concerts. Jazz. Ensemble Eclectic (class of Gary Schwartz) > 8pm. ÉSJB. FA. Doctoral Recital. Julia Dokter, organ > 8pm. Maison de la culture Frontenac, 2550 Ontario Est. LP. Colinda. Noëls médiévaux de Provence. Strada > 8pm. McGU(mc) RED. FA. Master s Recital. Emilie Brulé, baroque violin Friday 9 > 10:30am. PdA MSM. 40$. Les matins symphoniques. Gershwin: Rhapsody in Blue; Holst: Les Planètes. O.S. de Montréal; Choeur de femmes de l OSM; Ludovic Morlot, chef; Simone Dinnerstein, piano > 4pm. McGU(mc) RED. FA. Undergraduate Exam- Recital. Gwyneth Bergman, organ

25 > 4:30pm. McGU(mc) TSH. FA. Undergraduate Exam- Recital. Leana Lebeau Weilbrenner, soprano > 6:30pm. MBAM SBou $. Tableaux en musique. Quintettes romantiques. Weber: Quintette pour clarinette et cordes, op.34; Brahms: Quintette pour clarinette et cordes, op.115. Alain Desgagné, clarinette; Ann Chow, Alison Mah- Poy, violon; Natalie Racine, alto; Sylvain Murray, violoncelle. (17h visite commentée: L art européen et le romantisme) x4, > 7pm. UdM-MUS B $. Opéramania (projection commentée de films d opéra; Michel Veilleux, musicologue). Bizet: Djamileh / Adam: Le Toréador, ou L accord parfait. Marie Gautrot, Sébastien Guèze, Armando Noguera, Jean-Loup Pagésy; Miquel Ortega, chef / Ghyslaine Raphanel, Matthieu Lécroart, Franck Cassard; Jean-Luc Tingaud, chef > 7:30pm. Église unie Union, 24 Maple, Ste-Annede-Bellevue. 8-15$. Lakeshore Chamber Music Society. Armenian liturgical songs; Christmas carols. The Orpheus Singers > 7:30pm. UdM-MUS B-484. EL. Classe d André Moisan, clarinette > 7:30pm. UdM-MUS SCC. EL. John Cage, Mauricio Kagel, Bruce Mather, Nicolas Gilbert. Atelier de percussion de l UdM; Julien Grégoire, chef > 8pm. CHBP. EL. SMCQ Série Hommage/Ana Sokolovic. Montréal/Tel Aviv à la Chapelle. Ana Sokolovic: Danses et interludes; Claude Vivier: Shiraz; Charles Ives: Sonate #1; Jonathan Keren: Phantastrophe #1; Matan Porat:.for piano; Maxime McKinley (création). Matan Porat, piano > 8pm. Église Présentation-de-la-Ste-Vierge, 665 de l Église, Dorval. 20$. Hodie! Hodie!. Morten Lauridsen, Leonard Enns, Mark Sirett, Stephen Chatman, Peter Schubert, Holst, Sweelinck. Sainte-Anne Singers; Margo Keenan, cond (f 10) > 8pm. Église St-Joachim, 2 Ste-Anne, Pointe-Claire. 20$. Handel: Messiah, Part 1; Christmas carols; sing-along. Stewart Hall Singers; Douglas Knight, cond.; chamber orchestra; Tamara Vickerd, Sylvain Paré, Clayton Kennedy , > 8pm. Salle Jean-Eudes, 3535 boul. Rosemont. LP. André Ristic/ Cecil Castellucci: Les Aventures de Madame Merveille. ECM+; Véronique Lacroix, chef; Pascale Beaudin, Marie-Annick Béliveau, Michiel Schrey, Pierre-Étienne Bergeron Saturday 10 > 12:55pm. Ciné-Met MTL $. MetOp_HD, Live. Gounod: Faust (durée approx. 4h10min). Yannick Nézet-Séguin, cond.; Jonas Kaufmann, René Pape, Marina Poplavskaya. (f 4/2 Montréal; 10/12, 4/2 Québec; 10/12, 4/2 Elsewhere in QC; 10/12, 4/2 Ottawa-Gatineau) > 2:30pm. Église presbytérienne Maisonneuve, 1606 Letourneux (près Pie-IX & Ste-Catherine Est). CV. Concert de Noël. Leroy Anderson: A Christmas Festival; Sleighride; Handel: Messiah, Hallelujah! (orch. Mozart); Lionel Daunais: La tourtière; Ernest Gagnon: Suite de noëls; Yon: Gesù bambino; etc. Le Choeur Québécois; Jean-François Noël, chef; Sonia Pon, flûte; orchestre synthétique > 4pm. Mountainside United Church, 4000 The Boulevard, Westmount. CV. Holiday Concert. Purcell, Peter Aston, Bob Chilcott, Lionel Daunais, John Leavitt, Norman Luboff, Erica Phare, John Rutter. English Montréal School Board Chorale; Patricia Abbott, chef; The Lyric Theatre Singers; Bob Bachelor, chef; The Citadel Band; Glen Shepherd, chef; Anne-Marie Denoncourt, Linda Laroche, piano x7234 > 7pm. Église St- Joseph, 164 Martel, Chambly. 25$. Petit Noël d antan. Fauré: Cantique de Jean Racine; Schubert: Ave Maria; Adam: Minuit Chrétiens; Rameau: Hymne à la nuit; Katherine K. Davis: L Enfant au tambour; traditionnels français: La Marche des rois mages; Trois anges sont venus ce soir; D où viens-tu bergère; etc. Atelier lyrique de Chambly; Véronique Tremblay, chef; Isabelle Mathieu, piano , > 7:30pm. Église St-Jude, Auteuil $. Noël dans les Antilles. Glenn McClure: Caribbean Christmas Mass. Choeur des Disciples de Massenet; Lucie Roy, chef; ensemble instrumental > 7:30pm. UdM-MUS B-484. EL. Ponce, Weiss, Jose, Rodrigo, Vivaldi. Classe de Bruno Perron, guitare > 8pm. Église de la Purification B.V.M., 445 Notre- Dame, Repentigny $. Série Grandes Étoiles. Anton Kuerti, piano > 8pm. Église Notre-Dame-de-Grâce, 5333 Notre- Dame-de-Grâce. 30$. Joy to the World, An Evening of Music, Song & Dance. Elgar: Cello Concerto, mvts 1-2; Pomp and Circumstance, op.39; Tchaikovsky: Nutcracker (e); Mozart: Ave Verum Corpus; Beethoven: Fantaisie Chorale; etc. Musicians of the World S.O.; ; O.S. des Jeunes de Joliette; Marjorie Walter Youth Choir; Marc-André Riberdy, cello; Pierre Jasmin, piano; Chantal Parent, soprano; dancers > 8pm. Église St-Matthieu, 1014 Richelieu, Beloeil $. Le Choeur chante les Amériques. Martín Palmeri: Misa a Buenos Aires (Misa tango); trad. américain: negro spirituals. Choeur de la Montagne; I Musici de Montréal; Julien Proulx, chef; Thierry Bégin-Lamontagne, guitare; Jonathan Goldman, bandonéon; Francine Lacroix, piano (f 11) > 8pm. Église St-Pierre-Apôtre, 1201 Visitation $. Noël autour du monde. Britten, Morten Lauridsen, Mendelssohn, Jan Sandström, Eric Whitacre, Vaughan Williams. Choeur de l Art Neuf; Pierre Barrette, chef (f 11) > 8pm. Église unie Union, 24 Maple, Ste-Anne-de- Bellevue. 20$. Sainte-Anne Singers. (Post-concert reception) (h 9) > 8pm. L Étoile Banque Nationale, Quartier Dix30, 6000 boul. de Rome, Brossard $. Série Orchestre en tournée. Concert bénéfice pour la Fondation des comités d entraide de Brossard. Répertoire traditionnel de Noël. O.S. de Longueuil; Chorale: Les Mélodistes; Marc David, chef; Patsy Gallant, chanteuse pop > 8pm. McGU(mc) POL. FA. Undergraduate Exam- Recital. Ysel Zada-Taghi, violin > 8pm. St. John Fisher Church, 120 Summerhill, Pointe-Claire. 15$. In natali domini. Plain-chants et polyphonies du Moyen-Âge (France, Angleterre); noëls français de la Renaissance; noëls anglais 13e-20e siècles. Vox ensemble choral; Alain Vadeboncoeur, chef (f 18) > 8pm. St. John the Evangelist Church (Red Roof), 137 Président-Kennedy (coin St-Urbain). 0-25$. Tactus. (h 4) Sunday 11 > 10:45am. SASP. CV. 3e dimanche de l Avent. Brahms: Es ist ein Ros entsprungen; Sandström (arr.): Lo, how a rose; Handel: Messiah: O thou that tellest ; Thierry Escaich: Évocation 2. Choeur de St. Andrew and St. Paul; Jordan de Souza, chef; Jonathan Oldengarm, orgue > 11am. Maison JMC. 9$. La Musique, c est de Famille!. Le grand bal de Noël. (Pour les 3 à 5 ans; 40 minutes) (f 13) > 1pm. UdM-MUS SCC. EL. Oeuvres vocales et instrumentales. Classes de de Jean-Eudes Vaillancourt, musique de chambre, d ensemble-claviers et d accompagnement > 1:30pm. Maison JMC. 9$. La Musique, c est de Famille!. Le grand bal de Noël. (Pour les 6 à 12 ans; 55 minutes) (h 11) > 2pm. Centre culturel de Joliette, 20 St-Charles- Borromée Sud, Joliette. 30$. Concert de Noël. Chansons traditionnelles de Noël. Sinfonia de Lanaudière; Stéphane Laforest, chef; Gianna Corbisiero, soprano; Gino Quilico, baryton (f 18) > 2pm. Église St-Pierre-Apôtre, 1201 Visitation $. Choeur de l Art Neuf (h 10) > 2:30pm. Église Marie-Reine-de-la-Paix, boul. Gouin Ouest, Roxboro. 5-10$. Benefit Concert for West Island Community Shares. Prokofiev: Peter and the Wolf; Bernstein: Candide, overture; Walton: Crown Imperial; Handel: Messiah, Hallellujah!; Christmas carol sing-along. West Island Youth S.O.; Stewart Grant, cond.; Lynn Desjardins, Raymond, narrators > 2:30pm. Église St-Matthieu, 1014 Richelieu, Beloeil $. Ch. de la Montagne (h 10) > 3pm. CCPCSH. LP. Rendez-vous de dimanche. Classiques de Noël. Handel: Messiah, choruses; Christmas carols; sing-along. Stewart Hall Singers; Douglas Knight, chef; Philip Crozier, piano > 3pm. Église de la Purification B.V.M., 445 Notre- Dame, Repentigny. 20$. Série Art et Spiritualité. Concert de Noël. Noëls traditionnels; noëls inédits. Raphaëlle Paquette, soprano; Roxane Tessier-Ferland, hautbois; Bernard Ducharme, violon; Claudel Callender, piano x3 > 3pm. Église de la Visitation, 1847 boul. Gouin Est. LP. Concerts à la visitation. Salsa baroque. Musique d Amérique latine et d Espagne 17-18e siècles. Ensemble Caprice > 3pm. Église St-Esprit, 2851 Masson (angle 6e avenue) $. Gloria!. Classiques de Noël en français, anglais et latin. Ensemble vocal Ganymède; Ensemble vocal de St-Laurent; Ensemble vocal Stakato; orgue, cuivres, timbales > 3pm. Église St-Laurent, 805 boul. Ste-Croix, St-Laurent $. Charpentier: Messe de Minuit; traditionnels Nouvelle-France: chants de Noël. Choeur et Ensemble Radio-Ville-Marie; Simon Fournier, chef > 3pm. PdA MSM $. Série Grands Rendezvous. Handel: Messiah, HWV56. Les Violons du Roy; La Chapelle de Québec; Bernard Labadie, chef; Lydia Teuscher, Matthew White, James Taylor, Tim Mirfin , (f Québec 8, 9) TRIO HOCHELAGA HOSTS JAMES CAMPBELL Violinist Anne Robert, cellist Paul Marleyn and pianist Stéphane Lemelin, aka Trio Hochelaga, gives a concert with well-known clarinettist James Campbell, playing Takamitsu, Ravel and Messiaen. Friday the 2, 7:30 p.m., Conservatoire de musique de Montréal, RB OPERA MEETS JUGGLING AT THE CHAPELLE At the Chapelle, Bande Artistique is putting on a show in which an innovative circus pairs juggling and opera! Designed to be familyfriendly by Marie-Claude Chamberland and Émile Carey, Parfois dans la vie, les choses changent will delight every generation. Saturday the 3, 2 p.m. As for chamber music, the Chapelle will host Suzanne Blondin and Olivier Godin playing Brahms dances for piano for four hands (Sunday the 4, 3:30 p.m.) and violinist Olivier Thouin and pianist François Zeitouni play Ravel, Fauré, Debussy and Franck (Thursday the 8, 8 p.m.). Pianist Matan Porat, winner of the Honens Prize in 2003, will perform works by Chopin, Scarlatti, Brahms, Bartók, Rameau, Rachmaninov and Scriabin on Sunday the 11 th, 3:30 p.m. La Chapelle will be on vacation during the holidays and reopen on January 25 th. RB BANDE ARTISTIQUE PREVIEWS TRIO HOCHELAGA PHOTO triohochelaga.com 25 PHOTO bandeartistique.com

26 PREVIEWS A GREAT LIEDER PERFORMER AT THE LMMC Mezzo-soprano Christianne Stotijn is the Ladies Morning Musical Club s next guest. After obtaining a violin degree at the Amsterdam conservatory, she embarked on studies in voice in Metz, London, and Amsterdam. Stotijn has received multiple prizes. In 2007, she was the BBC New Generation Artist and her extensive discography has received multiple awards. She will debut at the LMMC with pianist Julius Drake. Schumann, Eisler and Mahler are on the program. Sunday the 4, 3:30 p.m., Pollack hall. RB HEAVENLY BODIES AND A CLARINET QUINTET WITH THE OSM The OSM is giving a planet-themed concert where the spotlight will be on winds and voice thanks to The Planets by Holst. In this extremely famous suite, Holst creates an inspired and expressive description of the character and colour of each of the planets. It is also of note that the winner of the OSM Standard Life Competition is an invited soloist at this concert, which will take place at the Maison symphonique de Montréal on December 6 at 8 p.m. and on December 9 at 10:30 a.m. OSM musicians Ann Chow et Alison Mah-Poy (violin), Natalie Racine (viola), Sylvain Murray (cello) and Alain Desgagné (clarinet) are giving a chamber music concert on December 9 in the intimate setting of Bourgie hall. The ensemble will perform Weber s Clarinet Quintet in B flat major, with its sublime melodic lines for the clarinet, and Brahms Clarinet Quintet in B minor, which truly gives the clarinet quintet its place among the most noble instrumental ensembles. JV YOUNG PRIZE WINNERS GIVE TWO RECITALS NOT TO BE MISSED Violinist Marie-Ève Poupart, winner of the Concours du Prix d Europe, and pianist Hui Chuan Chen will perform a program of Schubert, Ravel and Prokofiev on Sunday the 11, 3:30 p.m. Two violinists, Ana Drobac and Caroline Chéhadé, two-time winner of the John Newmark Prize at the Concours du Prix d Europe, will perform works by Leclair, Haydn, De Bériot and Lipsky on Saturday the 10, 7:30, Conservatoire de musique de Montréal, , ext. 228 RB THE OM PERFORMS BACH S CHRISTMAS ORATORIO CHRISTIANNE STOTIJN & JULIUS DRAKE PHOTO Marco Borggreve This December, Bach is everywhere. On the 22, he will be given a place of honour by the Orchestre Métropolitain s performance of his magnificent Christmas Oratorio. A cantata in six parts telling the Nativity story, the Christmas Oratorio is heart-warming, sweet, touching, and a piece that appeals to the soul. The OM and their choir will be joined by several young soloists: soprano Hélène Brunet, mezzo-soprano Aidan Ferguson, tenor Jacques-Olivier Chartier, and baritone Alexandre Dobson, all under the direction of Yannick Nézet-Séguin. Église Saint-Jean-Baptiste. JV > 3:30pm. CMM SC. 10$. Les Rendez-vous du dimanche. Schubert: Sonate pour violon et piano, D. 574; Ravel: Sonate pour violon et piano; Prokofiev: Sonate #1 pour violon et piano, op.80. Marie-Ève Poupart, violon; Hui-Chuan Chen, piano > 3:30pm. Théâtre des Deux-Rives, 30 boul. du Séminaire Nord, St-Jean-sur-Richelieu $. Maestria. Noël à travers le monde. Angèle Dubeau et La Pietà, cordes > 4pm. Centre Leonardo da Vinci, Théâtre Mirella et Lino Saputo, 8370 boul. Lacordaire, St-Léonard. Tournée CAM. La nativité selon Bach. Bach: Oratorio de Noël, cantates 1-3. Orchestre Métropolitain; Pierre Tourville, chef; Choeur de l Orchestre Métropolitain; Hélène Brunet, Aidan Ferguson, Jacques-Olivier Chartier, Alexander Dobson (f 17) > 4pm. ConcU OPCH. 20$. Mozart: Die Zauberflöte, ouverture; Tchaikovsky: Suite Lac des Cygnes, op.20; Guy Richer: Suite irlandaise; Bizet: L Arlésienne, Suite #1. Orchestre Philharmonia Mundi de Montréal; Jean-Pascal Hamelin, chef > 4pm. École de musique Vincent-d Indy, 628 chemin Côte-Ste-Catherine. EL. Concert de Noël. Rode: Étude #4; Wieniawsky: Étude #4; C.P.E. Bach: Symphonie, Wq.182 #2; Warlock: Capriol Suite; Jean & Nicolas Cousineau: Airs de Noël; Jean Cousineau: Airs folkloriques. Les Petits Violons; Jean Cousineau, dir > 4pm. Ogilvy Tudor. 100$. Concert bénéfice pour le choeur: Polyphonie sous le gui. Bach: Magnificat; Mendelssohn: Magnificat; Pachelbel: Magnificat; Pinkham: Magnificat. Choeur polyphonique de Montréal; musiciens de l O.S. des jeunes de Montréal; Louis Lavigueur, chef; Steffi Dietz, Myriam Leblanc, Danielle Vaillancourt, Arthur Tanguay-Labrosse, John Giffen > 4pm. Wyman Memorial United Church, 513 Main St, Hudson $. Concerto Della Donna (h 7) > 4:15pm. ÉSJB CSL. EL, CV. Les Dominicales. Anne Robert, violon; Alain Gagné, piano. (Précède le service de 17h) > 6pm. UdM-MUS SCC. EL. Oeuvres vocales et instrumentales. Classes de de Jean-Eudes Vaillancourt, musique de chambre, d ensemble-claviers et d accompagnement > 7pm. ÉSJB CSL. 10$. Concert de Noël. Chopin, Muresianu, Milan; chants de Noël. Choeur La Muse; Ioana German, chef; Monica Hurdubei, piano; Marina Negruta, Diana Virlan, David Litwin, Catalin Stoleru, Jason Milan , > 7pm. McGU(mc) POL. FA. Undergraduate Exam- Recital. Sarah Highland, bassoon > 8pm. Church of the Resurrection, 99 Mount Pleasant, Pointe Claire $. Concerto Della Donna (h 7) Monday 12 > 5pm. UdM-MUS B-421. EL. Classe de Claude Richard, violon > 5pm. UdM-MUS B-484. EL. Dominick Argento, Denis Gougeon, Mozart, Purcell, Vivaldi. Eugénie Préfontaine, soprano, chant > 7:30pm. UdM-MUS SCC. EL. SMCQ Série Hommage/Ana Sokolovic; Atelier. Ana Sokolovic: musique de chambre. Atelier de musique contemporaine de l Université de Montréal; Lorraine Vaillancourt, chef > 7:30pm. UdM-MUS B-421. EL. Mozart, Beethoven, Chopin. Classe de Jimmy Brière, piano > 8pm. La Sala Rossa, 4848 St-Laurent. 12$. Innovations en concert. Luigi Nono: Fragmente-Stille, an Diotima; Robin Hayward: Grave Mountain Diagram. Quatuor Bozzini; Zinc & Copper Works > 8pm. PdA MSM $. Pro Musica, série Émeraude. Beethoven: Quatuor à cordes, op.18 #4; Osvaldo Golijov: Kohelet (création); Schubert: Quatuor à cordes, op.161, D.887. Quatuor St.Lawrence, cordes , > 8:30pm. UdM-MUS B-484. EL. Schulhoff, Bach, Messiaen, Feld, Heinz Holliger. Laura Bates, flûte Tuesday 13 > 1:30pm. Université de Montréal, campus Laval, 1700 Jacques-Tétreault (angle boul. de l Avenir; métro Montmorency), Laval. 12$. Matinées d Opéramania Laval. Eugène Onéguine , (h 6) > 2pm. Maison de la culture Ahuntsic-Cartierville, Lajeunesse, 1er étage. LP. Les Enchanteurs. Cantiques de Noël. Rebecca Klein, soprano; Milia Berkin, mezzo; Adam Goulet, ténor; François Ouimet, basse > 4:30pm. UdM-MUS SCC. EL. Reinecke, Paulo Costa Lima, Bach, Jolivet. Clara Rodrigues, flûte > 5pm. UdM-MUS B-484. EL. Mendelssohn, Sarasate, Schumann, Bach, John Rea. André Anne Marion, violon > 6:30pm. UdM-MUS SCC. EL. Bach, Haydn, Schumann, Debussy, Prokofiev. James Coghlin, piano > 7:30pm. UdM-MUS B-484. EL. Classe de Jean-Marc Bouchard, improvisation, divers instruments > 7:30pm. UdM-MUS B-421. EL. Weber, Mozart, Debussy, Poulenc. Classe de Jean-François Normand, clarinette > 8:30pm. UdM-MUS SCC. EL. Liszt, Schubert, Prokofiev, Ravel. Ryan Kolodziej, piano Wednesday 14 > 1:30pm. Université de Montréal, campus Longueuil, 101 place Charles-Lemoyne, bureau 209 (face au métro Longueuil), Longueuil. 12$. Matinées d Opéramania Longueuil. Tamerlano , (h 7) > 5pm. UdM-MUS B-421. EL. Classe de Maneli Pirzadeh, piano > 6pm. UdM-MUS SCC. EL. Classe de Mark Pedrotti, chant > 7:30pm. UdM-MUS B-421. EL. Classe d André Moisan, clarinette > 8pm. McGU(mc) POL. FA. Undergraduate Exam- Recital. M. Gillian Carrabre, violin Thursday 15 > 11am. Ogilvy Tudor $. Série Ogilvy. Splendeurs baroques. Purcell: Didon et Énée, ouverture; Jenkins: Pavan; Handel: Concerto grosso, op.6 #7; Vivaldi: Concerto #4, op.8 L inverno ; C.P.E. Bach: Symphonie #3, Wq.192; Boyce: Ode for the New Year 1756, 1er mouvement; Michael Oesterle: Divinité excentrique. I Musici de Montréal; Joël Thiffault, chef; Julie Triquet, violon; Grégoire Jeay, traverso (f ) > 5:45pm. Ogilvy Tudor $. Série Ogilvy. I Musici, Splendeurs (h 11) > 6pm. UdM-MUS B-484. EL. Hindemith, Walton, Brahms, Vieuxtemps, Bach, Sid Robinovich. Classe de Jutta Puchhammer, alto > 7:30pm. UdM-MUS B-421. EL. Classe de Paul Marcotte, cor > 8pm. Église Ste-Famille, 560 boul. Marie-Victorin, Boucherville. 25$. Noël à Versailles. Charpentier: Messe de minuit sur des airs de Noël; Te Deum; Lalande: Quam dilecta; Corrette: Laudate Dominum. Ensemble vocal Polymnie; O.S. des jeunes de Montréal; Louis Lavigueur, chef; Cécile Muhire, Odéi Bilodeau, Danielle Vaillancourt, Mathieu Abel, John Giffen (f 17) > 8pm. UdM-MUS SCC $. Musique, théâtre. Les démons des bois de Vienne. Schoenberg: La Nuit transfigurée, op.4; Schubert: La Jeune Fille et la Mort. Orchestre Nouvelle Génération; Airat Ichmouratov, chef; Le Théâtre Deuxième Réalité Friday 16 > 11am. Ogilvy Tudor $. Série Ogilvy. I Musici, Splendeurs (h 15) > 4pm. UdM-MUS B-421. EL. Gabriel Parès, David Désilets, Telemann, Kent Kennan. Ralph Leclerc, trompette > 5:45pm. Ogilvy Tudor $. Série Ogilvy. I Musici, Splendeurs (h 15) > 7pm. UdM-MUS B $. Opéramania (projection commentée de films d opéra; Michel Veilleux, musicologue). Handel: Messiah. Susan Gritton, Cornelia Horak, Bejun Mehta, Richard Croft, Florian Boesch; Jean-Christophe Spinosi, chef > 7pm. UdM-MUS B-484. EL. Bach, Villa-Lobos, Jacques Hétu, F. Martin, Turina, Pujol, Moraíto Chico. Philippe Jean, guitare > 7:30pm. PdA MSM. 35$. Noël conté par Fred Pellerin. Musique québécoise, chants traditionnels, classiques du temps des Fêtes. O.S. de Montréal; Kent Nagano, chef; Fred Pellerin, conteur. (complet) (f 17) > 8pm. Collège de Maisonneuve Cégep, Salle Sylvain- Lelièvre, 2701 Nicolet (angle Sherbrooke Est). Tournée CAM. La nativité selon Bach. Bach: Oratorio de Noël, cantates 4-6. Orchestre Métropolitain; Pierre Tourville, chef; Choeur de l Orchestre Métropolitain; Hélène Brunet, Aidan Ferguson, Jacques-Olivier Chartier, Alexander Dobson (f 18) > 8pm. ConcU OPCH. 0-5$. Concordia University, Department of Music, student concerts. Big Band (class of Dave Turner) > 8pm. ÉGesù. 25$. La Nativité selon Marie. Christine Donkin, Duruflé, Ravenello. Chorale du Gesù; Patricia Abbott, chef; Marion, soprano; Aurélie Brunelle, danse; Marie Roberge, conteuse (f 17) > 8pm. Église Ste-Rose-de-Lima, 219 boul. Ste-Rose, Laval. 10$. Tchaïkovski: Le Lac des cygnes. Orchestre Philharmonique Équitable; André Gauthier, chef > 8:30pm. UdM-MUS SCC. EL. Britten, Bach, Rochberg, Enescu. Esme Allen Creighton, alto > 8:30pm. UdM-MUS B-484. EL. Bach, R. Sainz de la Maza, E. Sainz de la Maza, Denis Gougeon, Dioniso Aguado, Roland Dyens. Jonathan Boudreault, guitare Saturday 17 > 1pm. Ciné-Met MTL $. MetOp_HD, Encore. Mozart: Don Giovanni (durée approx. 4h). Fabio Luisi, cond.; Marina Rebeka, Barbara Frittoli, Isabel Leonard, Matthew Polenzani, Ramón Vargas, Peter Mattei, Mariusz Kwiecien, Ger- 26

27 ald Finley, Luca Pisaroni, John Relyea. (f 17 Québec; 17 Elsewhere in QC; 17 Ottawa-Gatineau) > 2pm. Ogilvy Tudor $. Série Ogilvy. I Musici, Splendeurs (h 15) > 3pm. Église de St-Donat, 475 Principale (route 125), St-Donat. EL. OSJM, Polymnie, Noël (h 15) > 7:30pm. PdA MSM. 35$. OSM, Pellerin, Noël. (complet) (h 16) > 7:30pm. St. James the Apostle Anglican Church, 1439 Ste-Catherine Ouest $. Jacquet de la Guerre: Samson; Bach, Vivaldi: arias; D. Scarlatti, Pandolfi Mealli, Matteis. Trio Les Folies baroques (f 18) > 7:30pm. ThOutremont. Tournée CAM. OM, Bach Noël (h 11) > 7:30pm. UdM-MUS B-484. EL. Schumann, Franck, Bartok, Cassado. Classe d Eleonora Turovsky, violon; classe de Yuli Turovsky, violoncelle > 8pm. ÉGesù. 25$. Chorale du Gesù (h 16) > 8pm. Église Ste-Famille, 560 boul. Marie-Victorin, Boucherville. 0-20$. De tous temps, en tous lieux, Noël. Britten: A Ceremony of Carols; chants de Noël de différents pays. Choeur Amabilis; Richard Ducas, chef; Mélanie Barney, orgue, piano (f 18) > 8pm. McGU(mc) RED. FA. Master s Recital. Veronica Han-Sol Lee, viola > 8pm. St. Matthias Anglican Church, 131 chemin Côte-St-Antoine (angle Metcalfe), Westmount $. Komitas: Armenian liturgical pieces; Arvo Pärt: I am the true vine; Eric Whitacre: Lux Arumque; Peter Togni: Suma de la perfección. The Orpheus Singers; Peter Schubert, cond > 8pm. Théâtre Hector-Charland, 225 boul. l Ange- Gardien, L Assomption $. Série Musique du Monde. Album: Havana Angels. Florence K, voix; jeunes musiciens cubains > 8pm. ThOutremont. 20$. La nativité selon Bach. Bach: Oratorio de Noël. Orchestre Métropolitain; Choeur de l OM; Yannick Nézet- Séguin, chef Sunday 18 > 10:45am. SASP. CV. 4e dimanche de l Avent. Bruhns: Nun komm, der Heiden Heiland; Willcocks (arr.): Gabriel s Message; Howells: Magnificat Collegium Regale ; Buxtehude: Magnificat primi toni, BuxWV 209. Choeur de St. Andrew and St. Paul; Jordan de Souza, chef; Jonathan Oldengarm, orgue > 1pm. MBAM SBou. 10$. Les Dimanches-familles en musique. Un Conte de Noël, d après Charles Dickens. Airs traditionnels de Noël d Angleterre et de France. Pierre-Alexandre Saint-Yves, voix, flûte, rauschpfeife, vielle à roue; Andrew Wells-Overegger, voix, bouzouki, cornemuse, guitare, percussion; Chloé Dominguez, voix, violoncelle baroque; Isabeau Proulx Lemire, comédien. (Concert en français) x4, (f 15) > 2pm. Église Marie-Reine-de-la-Paix, boul. Gouin Ouest, Roxboro. Tournée CAM. OM, Bach Noël (h 16) > 2pm. Église St-Édouard, St-Denis & Beaubien. 15$. Vox, natali domini (h 10) > 2pm. Théâtre Hector-Charland, 225 boul. l Ange- Gardien, L Assomption. 38$. Série Sinfonia Pop. Sinfonia Lanaudière, Corbisiero, Quilico (h 11) > 2:30pm. Église Ste-Famille, 560 boul. Marie-Victorin, Boucherville. 0-20$. Choeur Amabilis (h 17) > 3pm. CCPCSH. LP. Rendez-vous de dimanche. Folies baroques (h 17) > 3pm. ÉGesù. 20$. D Aquin: Noëls pour orgue (intégrale). François Zeitouni, orgue > 3pm. Église St-Léon de Westmount, 4311 Maisonneuve Ouest (métro Atwater) $. Les cuivres de Noël. Gabrieli. Studio de musique ancienne de Montréal; Christopher Jackson, chef > 3pm. Église St-Pierre-Apôtre, 1201 Visitation $. Chantons Noël. Poulenc, Donald Patriquin, Bach, Morten Lauridsen, David Willcocks, Vaughan Williams, Elgar, Rachmaninoff, Bertrand Guay, Gilles Vigneault (arr. Marc O Reilly), Kirkpatrick (arr. Elmer Iseler), Yvan Pronovost, Eric Whitacre, Claude Léveillée. Choeur des Jeunes du Québec 2011; Pierre Barrette, chef > 3pm. MBAM SBou. 10$. Les Dimanches-familles en musique. Noël d après Dickens. (Concert en anglais) x4, (h 13) > 4pm. UdM-MUS B-484. EL. Prokofieff, Dutilleux, Enesco, Doppler, Schubert. Classe de Lise Daoust, flûte > 4:15pm. ÉSJB CSL. EL, CV. Les Dominicales. Maneli Pirzadeh, piano. (Précède le service de 17h) > 7pm. ÉSJB $. Bach: Oratorio de Noël, BWV 248. Choeur classique de Montréal; Ensemble Sinfonia de Montréal; Louis Lavigueur, chef; Pascale Beaudin, Claudine Ledoux, Michiel Schrey, Pierre-Étienne Bergeron , > 7:30pm. SASP. CV. Carols by Candlelight. Cantiques traditionnels (Europe, Canada, ÉU). Choeur de St. Andrew and St. Paul; Jordan de Souza, chef; Jonathan Oldengarm, orgue > 7:30pm. UdM-MUS B-484. EL. Bach, Giuliani, Torroba. Classe de Peter McCutcheon, guitare > 9pm. La Sala Rossa, 4848 St-Laurent. 12$. Innovations en concert. Missy Mazzoli: Dissolve O My Heart; A Thousand Tongues; Nico Muhly: Diacritical Marks; Stride; Richard Reed Parry: Quartet for Heart and Breath; Malcolm Sailor: Steve Day- Lieder ohne Worte. Warhol Dervish; The Youjsh Monday 19 > 3:30pm. CMM SC. 10$. Les Grands Ensembles. Poètes et musiciens français 16-21e siècles. Choeur du Conservatoire; Louis Lavigueur, chef > 4:30pm. UdM-MUS SCC. EL. Tomasi, Jacques Castérède, Wagner, Eric Ewazen, Désilets. Maxime Pagé, trombone > 6:30pm. UdM-MUS SCC. EL. Villa-Lobos, Leo Brouwer, Rodrigo, Giuliani, Boccherini. Fabio Queiroz, guitare > 7:30pm. UdM-MUS B-484. EL. Bach. Classe de Réjean Poirier, piano > 8:30pm. UdM-MUS SCC. EL. Bach, Mozart, Brahms. Gregor Monlun, violon Tuesday 20 > 6:30pm. UdM-MUS SCC. EL. Brahms, Ravel. Andrey Manulik, piano > 7:30pm. UdM-MUS B-484. EL. Classe de Vladimir Landsman, violon Wednesday 21 > 7:30pm. PdA MSM. 35$. Handel: Messiah (orch. Mozart). O.S. de Montréal; Choeur de l OSM; John Oliver, chef; Lucia Cesaroni, Emma Parkinson, Isaiah Bell, Stephen Hegedus (f 22) > 7:30pm. Première Église évangélique arménienne St-Gaëtan, Drouart (2 rues au nord d Henri- Bourassa, coin L Acadie). 8-16$. Bach: Oratorio de Noël. Orchestre Métropolitain; choeur de l OM; Pierre Tourville, chef; 4 solistes > 8:30pm. UdM-MUS SCC. EL. François Morel (création), Alan Belkin (création), Liszt, Schubert, Scriabine. Philippe Prud homme, piano Thursday 22 > 11am. CMM SC $. SMCQ Série Hommage/Ana Sokolovic. Conte musical. Ana Sokolovic: Ambient V; Gaétan Leboeuf: Le réparateur de Noëls (création); Mozart: Quatuor pour hautbois, K.370. Ensemble Chorum; Jean- Michel Malouf, chef; Gaétan Leboeuf, récitant > 7:30pm. ÉSJB $. La nativité selon Bach. Bach: Oratorio de Noël. Orchestre Métropolitain; Yannick Nézet-Séguin, chef; Choeur de l Orchestre Métropolitain; Hélène Brunet, Aidan Ferguson, Jacques-Olivier Chartier, Alexander Dobson > 7:30pm. PdA MSM. 35$. OSM, Messiah (h 21) Friday 23 > 8pm. Chapelle Notre-Dame-de-Bon-Secours, 400 St-Paul Est. CV. Bach: cantates de Noël, BWV 63, 91, 110. Ensemble Da Capo; Jean-Pierre Brunet, chef; orchestre Saturday 24 > 8:30pm. ÉGesù. EL. Concert et messe de Noël. Adam, Aubanel, Bach, Rheinberger, Dominique Roy. Chorale du Gesù; Patricia Abbott, chef; François Zeitouni, orgue > 10:45pm. SASP. CV. Célébration solennelle de la Veille de Noël. Franck: Pastorale, op.19; Widor: Symphonie gothique, op.70: Finale; cantiques traditionnels; etc. Choeur de St. Andrew & St. Paul; Jordan de Souza, chef; Jonathan Oldengarm, orgue Sunday 25 > 10:45am. SASP. CV. Célébration solennelle du jour de Noël. Reger: Weihnachten, op.145 #3; Quef: Noël Parisien. Soliste du choeur; Jonathan Oldengarm, orgue Wednesday 28 > 11am. Ciné-Met MTL $. MetOp_HD, Special Holiday Encores. Mozart: Die Zauberflöte (1h52min). Nathan Gunn, etc.; James Levine, chef. (f 2 4/1 Montréal; 28/12 Ottawa-Gatineau) > 2pm. MBAM SBou $. Le Temps des Fêtes en musique. Musique et danse en Nouvelle-France. Lully, Charpentier, Chambonnières, Montéclair, Boismortier. Les Idées heureuses; Olivier Brault, chef; Marie-Nathalie Lacoursière, danse baroque x4, (f 29) Thursday 29 > 11am. Ciné-Met MTL $. MetOp_HD, Special Holiday Encores. Humperdinck: Hansel und Gretel (English subtitles). Alice Coote, Christine QUEBEC CITY OPÉRA DE QUÉBEC GALA The Opéra de Québec Gala is for one and for all, from seasoned opera connoisseurs to beginners wishing to get acquainted with the style. The event will take place on December 8 on this, its ninth consecutive year. Guest conductor John Keenan will direct Canadian and Quebecois singers along with the OdQ Choir and the Orchestre symphonique de Québec in the most beautiful operatic tunes at the Grand Théâtre de Québec. The profits of the event will go towards the OdQ s production and development activities. JV CHRISTMAS WITH LES VIOLONS DU ROY What would Christmas be without its great holiday classics? Les Violons du Roy are offering their version of Handel s monumental Messiah again this year, on December 8 and 9. This production has been praised by The New York Times as the best [they had] heard in years. With Lydia Teuscher, soprano, Matthew White, alto, James Taylor, tenor, Tim Mirfin, bass. At La Chapelle de Québec. On December 17, the ensemble will be accompanied by contralto Marie-Nicole Lemieux, one of the most acclaimed personalities in Quebec music. The program, directed by Eric Paetkau, is made up of Christmas songs and pieces from the Baroque repertoire. Among others, Telemann s Overture in F major à la Pastorelle and songs for alto voice taken from Bach s Christmas Oratorio and cantatas will be heard. JV EARLY TEXTURES AND TIMBRES Experience the early timbres and textures of a Baroque Christmas. On December 11, the trio Les enlumineuses, formed by Anne-Hélène Chevrette (violin), Marie-Noëlle Harvey (viola) and Nathalie Gagnon (harpsichord), all Baroque music enthusiasts, presents its performance. Early Christmases is a concert born of the discovery of a book of Baroque Christmas carols found in France by the harpsichordist s father. Salle Montaigne on the Charlesbourg campus of Cégep Limoilou, JV EDGAR AND HIS GHOSTS PREVIEWS Coloratura soprano MARIE-EVE MUNGER will perform at the gala MARIE-NICOLE LEMIEUX PHOTO Denis Rouvre With Vincent Bilodeau as Bach, Sylvain Massé as Beethoven, André Robitaille as Mozart, Jean Marchand as Éric Satie and 25 musicians brought together onstage, you will be spirited away to the fascinating worlds of larger-than-life musicians. A mysterious and fantastical performance, both touching and funny, that will acquaint you with classical music and the life of its composers. Normand Chaurette wrote the script, Normand Chouinard is director and the whole performance is produced by Jean-Pascal Hamelin. December 20, 21, 22 and 23, salle Louis-Fréchette. JV 27

28 2011 DECEMBER in QUEBEC TO LIST YOUR EVENTS IN THIS CALENDAR : Calendar entries of the Conseil québécois de la musique members are made possible by CAM. SUNDAY EMCN, Matinée de Noël, musique variée, élèves et professeurs de l École de Musique Côte-Nord, 14 h, Foyer, Centre des arts de Baie-Comeau, OSDL, Concert de Noël, Cantiques de Noël, Marc David (chef), Patsy Gallant, Orchestre symphonique des jeunes de la Montérégie, 14 h, Salle Pratt & Whitney Canada, Longueuil, OSTR, Fantaisie sur Noël, Valérie Milot, harpe, Antoine Bareil, violon, 14 h, Foyer de la salle J.-Antonio-Thompson, Trois-Rivières, QM, Suite lyrique, Schulhoff, Rihm, Berg, 15 h, Conservatoire de Montréal, Montréal, LMMC, Schumann, Eisler, Mahler, Christianne Stotijn, mezzo-soprano, Julius Drake, piano, 15 h 30, Salle Pollack, Montréal, Buzz, Concert de Noël, Rutter, Pinkham, Dastous, Cuivres et Chœur de l Université de Sherbrooke, 16 h, Église Saint-Jean Bosco, Magog, OSDL, Concert-bénéfice de la Fondation Jean de la Mennais, Cantiques de Noël, M. David (chef), M.- J. Lord soprano, chorale du Collège Jean de la Mennais, 19 h 30, Église de la Nativité de la Sainte-Vierge, La Prairie, , p MONDAY OUM with Jean-François Rivest, salle Claude-Champagne, 7 p.m. OSL, Noël en chœur, Haendel, Bach et œuvres traditionnelles de saison, Chœur Vox lumina et Chœur des écoles Vaillancourt et Des Cèdres, 20 h, Salle André-Mathieu, Laval, & 6 TUESDAY OSL A Choral Christmas, 8 p.m. at Salle André- Mathieu, Laval OSL, Noël en chœur, Haendel, Bach et œuvres traditionnelles de saison, Chœur Vox lumina et Chœur des écoles Vaillancourt et Des Cèdres, 20 h, Salle André-Mathieu, Laval, OSQ, Casse-Noisette, Alan Lewis, Les Grands Ballets canadiens de Montréal, 14 h et 19 h 30, Grand Théâtre de Québec, Québec, LEGEND ACIFUENTES Alejandra Cifuentes Diaz AMALGAMME Diffusion Amal Gamme APPASSIONATA Orchestre de chambre Appassionata BUZZ Buzz cuivres CLUBMQC Club musical de Québec ÉMCN École de Musique Côte-Nord FAM Fondation Arte Musica FD Fred-Demers.com JL Jean Ladouceur IEC Innovations en concert LDT Lorraine Desmarais Trio LMAM Le Moulin à musique LMMC Ladies Morning Musical Club MASQUES Masques NEM Nouvel Ensemble Moderne OSDL Orchestre symphonique de Longueuil OSL Orchestre symphonique de Laval OSTR Orchestre symphonique de Trois-Rivières OUM Orchestre Université de Montréal PALMTCALM Palais Montcalm PENTAÈDRE Pentaèdre OSQ Orchestre symphonique de Québec QBOZZINI Quatuor Bozzini QFRANZJOSEPH Quatuor Franz Joseph QM Quatuor Molinari SAVM Société d art vocal de Montréal SINFONIA Sinfonia de Lanaudière SMAM Studio de musique ancienne de Montréal VROY Les Violons du Roy SINFONIA, Concert de Noël, 14 h, Centre Culturel de Joliette, Salle Rolland-Brunelle, Joliette, OSTR, Noël avec André Gagnon et l Orphéon, Jacques Lacombe (chef), André Gagnon, L Orphéon de Trois-Rivières, 14 h 30, salle J.-Antonio- Thompson, Trois-Rivières, VROY, Le Messie, 15 h, Maison symphonique de Montréal, Montréal, , FAM, Les Dimanches-familles en musique, Un Conte de Noël, 13 h, Salle Bourgie, Montréal, , p. 4 EMCN, Noël 2011!, musique variée, élèves et professeurs de l École de Musique Côte-Nord, 14 h, Salle Théâtre, Centre des arts de Baie-Comeau, SINFONIA, Concert de Noël, 14 h, Théâtre Hector- Charland, L Assomption, , p. 5 FAM, Les Dimanches-familles en musique, Un Conte de Noël, 15 h (anglais), Salle Bourgie, Montréal, , p.4 LMAM, Gros Paul, Maison de la culture Notre- Dame-de-Grâce, 15 h, SMAM, Les cuivres de Noël, Giovanni Gabrieli, 15 h, église Saint-Léon-de-Westmount, Montréal, IEC, Warhol Dervish et The Youjsh en concert, Nico Muhly, Missy Mazzoli, Malcolm Sailor, 21 h, Sala Rossa, Montréal, IEC, Quatuor Bozzini et Zinc & Copper Works en concert, Luigi Nono, Robin Hayward, 20 h 30, Sala Rossa, Montréal, SUBSCRIBE NOW AT 28

29 WEDNESDAY THURSDAY FRIDAY SATURDAY PENTAÈDRE, Schubertiades - formule bouchées/vin, J. Brahms, F. Lachner, L. Thuille, L. van Beethoven, A. Zemlinsky, C. Schumann, F. Schubert, R. Schumann, 17 h, Salle Tudor - Ogilvy, Montréal, FAM, Les 5 à 7 en musique, Jean Derome, 18 h, Salle Bourgie, Montréal, , p. 4 UdM, BigBand de l UdeM, Maria Schneider, compositrice et chef d orchestre, 19 h 30, Salle Claude- Campagne, Montréal, OSDL, Noël tout en splendeur, Cantiques de Noël, Marc David (chef), Marie-Josée Lord, soprano, Chorale Les Mélodistes, 20 h, Salle Pratt & Whitney Canada, Longueuil, PENTAÈDRE, Schubertiades - formule chocolats/porto, J. Brahms, F. Lachner, L. Thuille, L. van Beethoven, A. Zemlinsky, C. Schumann, F. Schubert, R. Schumann, 20 h, Salle Tudor - Ogilvy, Montréal, APPASSIONATA, Autour de Schubert et Strauss, Lehàr, Michelle Sutton mezzo-soprano, Sarkis Barsemian ténor, Ewald Cheung violon, 20 h, Église Saint-Joachim, Pointe-Claire, OSQ, Casse-Noisette, Alan Lewis, Les Grands Ballets canadiens de Montréal, 19 h 30, Grand Théâtre de Québec, Québec, OUM, La Symphonie dans tous ses états, Sokolovic, Messiaen, Schubert, Jean-François Rivest au pupitre, 19 h 30, Salle Claude-Champagne, Montréal, PALMTCALM, John Mayall, 20 h, Salle Raoul-Jobin du Palais Montcalm, Québec, OSQ, Casse-Noisette, Alan Lewis, Les Grands Ballets canadiens de Montréal, 14 h et 19 h 30, Grand Théâtre de Québec, Québec, Orchestre métropolitain Conductor Daniel Myssyk, February at Pointe- Claire at l Église Saint-Joachim OSQ, Casse-Noisette, Alan Lewis, Les Grands Ballets canadiens de Montréal, 19 h 30, Grand Théâtre de Québec, Québec, NEM, Concert autour des cordes, 5 jeunes compositeurs, Martin Matalon, Yannick Chênevert, contrebasse, Lorraine Vaillancourt, chef, 20 h, Chapelle historique du Bon-Pasteur, Montréal, OSDL, Concert de Noël de la CSMV, Cantiques de Noël, M. David (chef), Chorale Les Petits-Explorateurs, vhorale école sec. Saint-Edmond, 20 h, Église de Saint-Hubert, , , p 2043 VROY, Le Messie, 20 h, Salle Raoul-Jobin, Palais Montcalm, Québec, , OSQ, Gala d'opéra, J. Keenan, J. Bouchard, D. Côté, L. Fortin, K. Geddes, M. Hervieux, R. Huard, M.-J. Lord, R. Paquette, S. Racine, M.-È. Munger, L. Robert, E. Ernesto Ramirez, 19 h 30, Grand Théâtre de Québec, Québec, FAM, Tableaux en musique, Musiciens de l OSM, 18 h 30, Salle Bourgie, Montréal, , p. 4 VROY, Le Messie, 20 h, Salle Raoul-Jobin, Palais Montcalm, Québec, , PALMTCALM, Un conte de Noël, Monsieur Scrooge (JMC), 15 h, Salle D Youville du Palais Montcalm, Québec, OSDL, Concert-bénéfice de la Fondation des comités d'entraide de Brossard, Cantiques de Noël, M. David (chef), P. Gallant, M. Angers, violon, chorale Les Mélodistes, 20 h, L'Étoile Banque Nationale, Brossard, JL, Jean Ladouceur, 18 h Église Saint-Pierre-Apôtre, Montréal, LDT, Jazz pour Noël, Jean-Pierre Zanella, Camil Bélisle et Frédéric Alarie, 20h30, Upstairs Jazz Club, Montréal, LDT, Jazz pour Noël, Jean-Pierre Zanella, Camil Bélisle et Frédéric Alarie, 22h15, Upstairs Jazz Club, Montréal, OSQ, La Grande Virée de Noël, S. Laforest, G. Charles, M.-J. Lord, N. Pellerin et les Grands Hurleurs, Maîtrise des Petits Chanteurs de Québec, Chœur de l OSQ, Chœur Notre-Dame de l Annonciation de l Ancienne-Lorette, Chœur de l Isle d Orléans, Chœur Les Rhapsodes, Chœur de la Colline, Chœur La-Mi-Sol, 20 h, Pavillon de la Jeunesse d'expocité, Québec, VROY, Marie-Nicole Lemieux et Bach pour Noël, 20 h, Salle Raoul-Jobin, Palais Montcalm, Québec, , LDT, Jazz pour Noël, Jean-Pierre Zanella, Camil Bélisle et Frédéric Alarie, 20 h 30, Upstairs Jazz Club, Montréal, LDT, Jazz pour Noël, Jean-Pierre Zanella, Camil Bélisle et Frédéric Alarie, 22 h 15, Upstairs Jazz Club, Montréal, OSQ, La Grande Virée de Noël, S. Laforest, G. Charles, M.-J. Lord, N. Pellerin et les Grands Hurleurs, Maîtrise des Petits Chanteurs de Québec, Chœur de l OSQ, Chœur Notre-Dame de l Annonciation de l Ancienne-Lorette, Chœur de l Isle d Orléans, Chœur Les Rhapsodes, Chœur de la Colline, Chœur La-Mi-Sol, 13 h 30, Pavillon de la Jeunesse d'expocité, Québec, FAM, Le Temps des Fêtes en musique, Musique et danse en Nouvelle-France, 14 h, Salle Bourgie, Montréal, , p. 4 FAM, Le Temps des Fêtes en musique, Musique et danse en Nouvelle-France, 14 h, Salle Bourgie, Montréal, , p. 4 29

30 TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 2012 JANUARY QUEBEC in CLUBMQC, Susan Graham, mezzo-soprano, Malcom Martineau, pianiste, 20 h, Grand Théâtre de Québec, ou SUNDAY MONDAY FAM, Les 5 à 7 en musique, Ensemble Magillah, 18 h, Salle Bourgie, Montréal, , p. 4 AMALGAMME, Rétrospective et renouveau, Quatuor Aveladeen, R. Cyr, B. Chaput, B. Ouellette et R. Bouliane, 20 h, Salle de spectacle église St-François-Xavier, Prévost, VROY et FAM, Maurice Steger en rappel, 19 h 30, Salle de concert Bourgie, Musée des beaux-arts de Montréal, Montréal, , p. 4 VROY et FAM, Maurice Steger en rappel, 14 h, Salle de concert Bourgie, Musée des beauxarts de Montréal, Montréal, , p. 4 FAM, Tableaux en musique, Mathieu Gaudet, 18 h 30, Salle Bourgie, Montréal, , p. 4 AMALGAMME, Sergeï Trofanov en spectacle, Sergeï Trofanov, violon et voix, Vladimir Sidorov, bayan et Olga Trofanova, claviers, 20 h, Salle de spectacle église St-François- Xavier, Prévost, FD, Sonez grandes orgues et trompettes, Catherine Todorovski, Frédéric Demers, 20 h, église St. Sauveur, Vald'Or, SINFONIA, Festa Italiana, 15h30, Théâtre des Deux-Rives, St-Jeansur-Richelieu, (888) SAVM, Mélodies françaises, Debussy, Fauré, Hahn, S. Karthaüser (soprano) et C. Tiberghien (piano), 19 h 30, Conservatoire de musique de Montréal, , OSDL, Cinémaestro, R. Strauss, J. Strauss, Mozart, Mendelssohn, L. Chaput (chef), M. Re Shin, piano, 20 h, Salle Pratt & Whitney Canada, Longueuil, MASQUES, Les Jardins Chorégraphiques, Chaconnes!,20 h, Salle de concert du Conservatoire de Musique de Montréal, Montréal, QBOZZINI, Thomas devant la fontaine éteinte, 20 h, Chapelle historique du Bon-Pasteur, Montréal, ACIFUENTES, Romances Russes (art vocal et visuel), Tchaikovsky-Rachamaninoff- Glinka-etc., Z. Laterreur, C. Growe, C. Cubillan, A. Cifuentes Diaz, 19 h, École de musique V.-d'Indy, Montréal, QFRANZJOSEPH, Quatuors à cordes de Joseph Haydn, 19 h 30, Église de la Visitation du Sault-au-Récollet, Montréal, OSTR, Fabiola chante Weill et Gershwin, Hétu, Weill, Gershwin, J. Lacombe (chef), F. Toupin, 20 h, salle J.-Antonio-Thompson, Trois-Rivières, SUBSCRIBE NOW AT: 30

31 THEME : Christmas The first letter of each word spells the name of a British author whose 200 th birthday will be celebrated in Baroque French composer, author of Noëls pour les instruments 2. Composer of the most famous oratorio, composed for Easter but usually performed before Christmas 3. This Christian hymn calls upon believers (Latin name) 4. Santa s most celebrated reindeer 5. This Québécois pianist just released the album Petit Noël 6. The last day of the Christmas season, this day celebrates the Magi » Quiz by CAROLINE RODGERS 7. A vile and miserly character from A Christmas Carol 8. This mysterious character gives his niece an enchanted nutcracker 9. He wrote the song White Christmas 10. This Italian with an angelic first name composed Concerto Grosso in G minor called Fatto per la notte di natale or Christmas Concerto 11. She wrote The Little Drummer Boy 12. He composed the soundtrack to Tim Burton s The Nightmare before Christmas 13. This saint inspired, in part, the legend of Santa Claus 14. Storyteller Fred Pellerin s hometown where the OSM will give three concerts this December I F E R N A N D K A D O C D» wordseach S V E I G R E G I G A L A R L U A F I N T E R M E Z Z O E H I N A U L T O I B P A S V P F R F M S N V K A R P S K R A K A T U K O S L I I E G O N V M M I E N V L N T L Alexandre (Alexandre Dumas, author of Histoire d un Casse-Noisette based on Hoffman s German tale and the inspiration for Tchaikovsky s ballet) Art Ballet Clara (heroine of The Nutcracker) Celesta Coda Dumas (Alexandre) Drosselmeyer (Clara s godfather) E.T.A (Ernest Theodor Amadeus Hoffmann, author of the original The Nutcracker and the Mouse King) Fantasia (1940 Disney animated film featuring several dances from Tchaikovsky s Nutcracker Suite) Fernand (Fernand Nault, Nutcracker choreographer for the Grands Ballets Canadiens de Montréal) Gala Gergiev (Valery Gergiev, Russian conductor who recorded The Nutcracker with the Kirov Orchestra on Decca) Gradimir (Gradimir Pankov, artistic director of the Grands Ballets Canadiens) Intermezzo Ivanov (Lev Ivanov, choreographer of the very first Nutcracker performed in 1892) Ivan (Ivan Vsevolojski, coauthor of R D T E U U T T A O E C E M A U A N A T E A V K T E P E D C S T B M A R I I N S K Y THEME : THE NUTCRACKER I T I E L A L E X A N D R E M I A L H S H O W H P U U R I O O P A A R A L C A M T T R N O I T I D A R T S A U R T U T U S A N C E L E S T A The Nutcracker ballet libretto) Kirov (Russian ballet considered to be the classic model for The Nutcracker) Krakatuk (name of the "uncrackable" nut in Dumas Histoire d un Casse-Noisette) Lev (Lev Ivanov) Marius (Marius Petipa, coauthor of The Nutcracker ballet libretto) Mariinsky (St. Petersburg theatre where the first Nutcracker was performed in 1892) Nault (Fernand Nault, choreographer) Pas (Pas de deux, a ballet sequence in which two dancers, the Prince and the Sugar Plum Fairy, dance together) Prince Petipa (Marius Petipa) Pletnev (Mikhaïl Pletnev, pianist and conductor who arranged seven numbers from The Nutcracker for piano) Production Show Stahlbaum (Clara's surname, which in certain versions is Silberhaus) Suite Tchaikovski Tradition Tutu (2) Ut TRANSLATION: REBECCA ANNE CLARK 31 8.Drosselmeyer 9.Irving Berlin 10.Corelli (Arcangelo) 11.Katherine K. Davis 12.Elfman (Danny) 13.Nicholas 14.Saint-Élie-de-Caxton CHARLES DICKENS Answers: 1.Charpentier (Marc-Antoine) 2.Handel 3.Adeste Fideles 4.Rudolph 5.Lefèvre (Alain) 6.Epiphany 7.Scrooge

32 PREVIEWS Elsewhere in QUEBEC OPERA AS COMIC STRIP Les Aventures de Madame Merveille is a comic strip opera! It s an original concept: comic-strip balloons will be projected onto a giant screen and the musicians will be visible as silhouettes through the illustrations. This adventure is made up of four acts, four astounding stories written by Cecil Castellucci. All this is performed to the festive music by André Ristic, which will be played live by the ECM+ musicians under the direction of Véronique Lacroix. The soloists: soprano Pascale Beaudin, mezzo-soprano Marie-Annick Béliveau, tenor Michiel Schrey and baritone Pierre-Étienne Bergeron. December 1, Centennial theatre of Université Bishop, Sherbrooke. December 9, Maison de la culture de Rosemont. JV CHRISTMAS FANTASY Holiday season is fantasy season. During Advent, violinist and arranger Antoine Bareil offers the chance to revisit the Christmas repertoire. He will be accompanied by harpist Valérie Milot. You will rediscover such great classics as Franz Gruber s Sainte Nuit. Orchestre symphonique de Trois-Rivières, December 4. MAC ENSEMBLE ANTOINE-PERREAULT CELEBRATES CHRISTMAS VALÉRIE MILOT PHOTO Gilles Roux Ensemble Antoine-Perreault, made up of a hundred musicians and choral singers, will offer a Christmas celebration in Rimouski, as it does every year, with a fairy tale of chords and vibrations. This orchestra will fill you to the brim with holiday spirit. Featuring traditional repertoire and some new touches. Salle Desjardins-Telus, December 18. MAC CHRISTMAS CONCERT WITH MARC HERVIEUX What better way to celebrate Christmas than an evening of music with Marc Hervieux? This lyric Canadian artist, wellknown on the national and international scenes, promises a warm concert in Victoriaville. His vocal talent and charisma will immerse you in the festive end-ofyear atmosphere. Église Sainte-Victoire, December 21. MAC Schäfer; Vladimir Jurowski, cond. (f 3 5/1) > 2pm. MBAM SBou $. Le Temps des Fêtes en musique. Les Idées heureuses x4, (h 28) JANUARY Sunday 1 > 10:45am. SASP. CV. Célébration solennelle du Nouvel An. Sweelinck: Puer nobis nascitur; Bach: Prelude and Fugue in C major, BWV 547. Soliste du choeur; Jonathan Oldengarm, orgue > 2:30pm. PdA SWP $. Salute to Vienna. Strauss Symphony of Montréal; Tommaso Placidi, cond.; Marie- Josée Lord, soprano; Michael Heim, tenor; Vienna Imperial Ballet; champion ballroom dancers ; (f 2 Québec) > 5pm. Ogilvy Tudor $ / 25-40$ avec bouchées et vin. Schubertiades. Schubert, R. Schumann, C. Schumann, Lachner: Lieder; Beethoven, Brahms, Thuille, Zemlinsky. Pentaèdre; Mathieu Gaudet, piano; Suzie Leblanc, soprano (f 20) > 8pm. Ogilvy Tudor $ / 25-40$ avec chocolats et porto. Pentaèdre, Schubertiades (h17) Monday 2 > 11am. Cineplex Odeon Cavendish Mall, 5800 boul. Cavendish. 5-10$. MetOp_HD, Special Holiday Encores. Zauberflöte (h 28/12) Tuesday 3 > 11am. Cineplex Odeon Cavendish Mall, 5800 boul. Cavendish. 5-10$. MetOp_HD, Special Holiday Encores. Hansel und Gretel (h 29/12) Wednesday 4 > 11am. Ciné-Met MTL $. MetOp_HD, Special Holiday Encores. Zauberflöte. (h 28/12) Thursday 5 > 11am. Ciné-Met MTL $. MetOp_HD, Special Holiday Encores. Hansel und Gretel. (h 29/12) Friday 6 > 7:30pm. UdM-MUS B $. Opéramania (projection commentée de films d opéra; Michel Veilleux, musicologue). Verdi: Il Trovatore. Dimitra Theodossiou, Miroslav Dvorski, Mariana Pentcheva, Leo Nucci, Andrea Papi; Carlo Rizzi, chef Sunday 8 > 10:45am. SASP. CV. Baptême du Seigneur. Bach: Christ, unser Herr, zum Jordan kam, BWV 684 & 685; Howells: Like as the hart; Gibbons: This is the record of John; Bach: Fugue in C minor after Legrenzi, BWV 574. Choeur de St. Andrew and St. Paul; Jordan de Souza, chef; Jonathan Oldengarm, orgue Wednesday 11 > 6pm. McGU(mc) SCL. FA. String Area Class > 8pm. PdA MSM. 40$. Les grands concerts du mercredi 1. Ravel: La Valse; Debussy: Children s Corner; Mahler: Kindertotenlieder; Des Knaben Wunderhorn (e). O.S. de Montréal; Kent Nagano, chef; Christian Gerhaher, baryton (f 12 14) Thursday 12 > 6pm. MBAM SBou $. Les 5 à 7 en musique. Le klezmer, de l ancien au nouveau monde. Musique klezmer traditionnelle et originale. Ensemble Magillah x4, > 7:30pm. UdM-MUS B-484. EL. Concerts du CéCo. Compositions des étudiants > 8pm. PdA MSM. 40$. Les grands concerts du jeudi 2 Power Corporation du Canada. OSM, Gerhaher (h 11) Friday 13 > 12pm. Ogilvy Tudor. 20$ / 30$ avec lunch. Arion Orchestre Baroque présente Les concerts Croque- Baroque. Voyage en Italie du 17e siècle > 7:30pm. UdM-MUS B $. Opéramania (projection commentée de films d opéra; Michel Veilleux, musicologue). Puccini: Tosca. Emily Magee, Jonas Kaufmann, Thomas Hampson, Valeriy Murga, Giuseppe Scorsin; Paolo Carignani, chef > 8pm. McGU(mc) TSH $. SMCQ Série Hommage/Ana Sokolovic. Ana Sokolovic: Love Songs; Mesh; Philippe Leroux: Un lieu verdoyant; Je brûle ditelle un jour à un camarade; Mitch Burke (création); Scelsi: Canti del Capricorno. Jana Miller, soprano; Alfredo Mendoza, saxophone > 8pm. McGU(mc) SCL. FA. Jazz Combos Saturday 14 > 1pm. Ciné-Met MTL $. MetOp_HD, Encore. Philip Glass: Satyagraha (durée approx. 4h10min). Richard Croft. (f 14 Québec; 14 Elsewhere in QC; 14 Ottawa-Gatineau) > 7:30pm. UdM-MUS SCC. EL. Étoiles montantes. Jean- Emmanuel Filet (création); Beethoven: Concerto pour piano #2; etc. Orchestre de l UdM; étudiants en direction d orchestre; Sarah Ristorcelli, piano > 8pm. Église St-François-Xavier, 994 Principale, Prévost. 25$. Rétrospective et renouveau. Musique du monde; pièces originales. Quatuor Aveladeen > 8pm. PdA MSM. 40$. Les grands samedis OSM. OSM, Gerhaher (h 11) > 8pm. St. George s Anglican Church, La Gauchetière angle Peel $. Au-delà des continents. Miller, Youmans, Rheinberger, Stephen Hatfield, Ronaldo Miranda, Misuzu McManus, Donald Patriquin, Bruno Dufresne, Peter Lundblad, Lars Edlund, Roman Yakub, Sid Robinovitch. Choeur Les Voix de la Montagne; Bruno Dufresne, chef; Jean- Sébastien Lévesque, piano Sunday 15 > 10:45am. SASP. CV. Office du 2e Dimanche après l Épiphanie. Buxtehude: Wie schön leuchtet der Morgenstern, BuxWV 223; Präludium in D, BuxWV 139; Gardner: Brightest and best of the sons of the morning; Shaw: With a voice of singing. Choeur de St. Andrew and St. Paul; Jordan de Souza, chef; Jonathan Oldengarm, orgue > 7:30pm. St. James the Apostle Anglican Church, 1439 Ste-Catherine Ouest $. Pigmalion et ses amis. Rameau: Pigmalion (e); Handel: arias; Hotteterre. Collectif Baroque Mont-Royal Monday 16 > 7pm. UdM-MUS B-484. EL. Myriam O Connor, basse jazz > 8pm. UdM-MUS SCC. EL. Nguyet Linh Tran, piano Tuesday 17 > 7pm. UdM-MUS B-484. EL. Pascal Martin, trompette jazz > 9pm. UdM-MUS B-484. EL. Frédéric Tardif, piano jazz Wednesday 18 > 6pm. McGU(mc) SCL. FA. String Area Class > 6:30pm. UdM-MUS SCC. EL. M. Karlowicz, Brahms, Tchaïkovski. Corinne Raymond-Jarczyk, violon > 7pm. UdM-MUS B-484. EL. Gabriel Godbout-Castonguay, piano jazz > 7:30pm. McGU(mc) TSH. FA. Brass Ensemble > 7:30pm. MBAM SBou $. Soirées Arte Musica. Handel: Concerto grosso, op.6 #7; Telemann: Ouverture; Sammartini: Concerto pour flûte à bec soprano; Corelli/Geminiani: Concerto grosso La Follia ; Concerto pour flûte à bec. Les Violons du Roy; Bernard Labadie, chef; Maurice Steger, flûte à bec , (f 19) > 9pm. UdM-MUS B-484. EL. Magalie Gosselin, piano jazz Thursday 19 > 11am. Ogilvy Tudor $. Série Ogilvy. Coucher de soleil italien. Wolf: Sérénade italienne; Respighi: Il Tramonto; Verdi: Quatuor à cordes. I Musici de Montréal; Jean-Marie Zeitouni, chef; Julie Boulianne, mezzo (f ) > 2pm. MBAM SBou $. Série Concerts Espresso (reprises écourtées du concert de la veille, animées par les chefs, sans entracte). Violons du Roy, Steger , (h 18) > 5:45pm. Ogilvy Tudor $. Série Ogilvy. I Musici, Boulianne (h 11) > 7pm. UdM-MUS B-484. EL. Jordan Racine, saxophone jazz Friday 20 > 11am. Ogilvy Tudor $. Série Ogilvy. I Musici, Boulianne (h 19) > 5:45pm. Ogilvy Tudor $. Série Ogilvy. I Musici, Boulianne (h 19) > 6:30pm. MBAM SBou $. Une Fugue au Musée. SMCQ Série Hommage/Ana Sokolovic; Tableaux en musique. La fugue, de Bach à Feininger. Schumann: 7 Pièces pour le piano en forme de fughette, op.126; Ana Sokolovic: Prelude and Fuge for GG; L. Feininger: Fugue #3 Gigue ; Bach: Le Clavier bien tempéré, Livre 2: préludes et fugues. Mathieu Gaudet, piano x4, > 7:30pm. CMM SC. 10$. Quatre Saisons. Turina: Trio #2, op.76; Piazzolla: Las Cuatro Estaciones; Ravel: Trio. Trio Hochelaga , > 7:30pm. Église unie Union, 24 Maple, Ste-Anne-de- Bellevue. 8-15$. Lakeshore Chamber Music Society. Mozart, Beethoven, Barber. Ensemble Mosaique > 7:30pm. McGU(mc) RED. 10$. Hank Knox, harpsichord > 7:30pm. UdM-MUS B $. Opéramania (projection commentée de films d opéra; Michel Veilleux, musicologue); soirée spéciale. Quelques grands interprètes de. Verdi: Il Trovatore (e). Maria Callas, Fiorenza Cossotto, Mario del Monaco, Plácido Domingo, Leyla Gencer, Dmitri Hvorostovsky, Raina Kabaivanska, Éva Marton, 32

33 Sherrill Milnes, Luciano Pavarotti, Leontyne Price, Joan Sutherland, José Van Dam, Jon Vickers, Dolora Zajick, etc > 8pm. McGU(mc) SCL. FA. Jazz Combos Saturday 21 > 12:55pm. Ciné-Met MTL $. MetOp_HD, Live. Handel, Vivaldi, Rameau, etc./shakespeare, Jeremy Sams: The Enchanted Island (durée approx. 3h35min). William Christie, cond.; David Daniels, Joyce DiDonato, Plácido Domingo, Danielle de Niese, Luca Pisaroni, Lisette Oropesa, Anthony Roth Costanzo. (f 21 Québec; 21 Elsewhere in QC; 21 Ottawa-Gatineau) > 2pm. Ogilvy Tudor $. Série Ogilvy. I Musici, Boulianne (h 19) > 5pm. McGU(mc) SCL. FA. Class of Marina Mdivani, piano > 7:30pm. CMM SC. 10$. Les Samedis à la carte. Ravel: Sonate pour violon et piano; Schubert: Rondo Brillant, D.895, op.70; Bartók: Danses populaires roumaines, Sz.56; Prokofiev: Marche et scherzo de L Amour des trois oranges; R. Strauss: Sonate pour violon et piano, op.18. Andréa Picard, violon; Irene Kim, piano > 7:30pm. PdA SWP $. Opéra de Montréal. Verdi: Il Trovatore. O.S. de Montréal; Francesco Maria Colombo, chef; Hiromi Omura, Julian Gavin, Gregory Dahl, Laura Briolo. (18h30, Piano nobile: conférence, Pierre Vachon, musicologue) , (f ) > 8pm. Église St-François-Xavier, 994 Principale, Prévost. 25$. CD Québec passion. Sergeï Trofanov, violon, voix; Vladimir Sidorov, bayan; Olga Trofanova, piano Sunday 22 > 10:45am. SASP. CV. 3e Dimanche après l Épiphanie. Böhm: Wer nur den lieben Gott lässt walten; Jacob Handl: Omnes de Saba venient; Stanford: O for a closer walk with God; Fantasia and Toccata, op.57. Choeur de St. Andrew and St. Paul; Jordan de Souza, chef; Jonathan Oldengarm, orgue > 11am. Hôtel de Ville, 435 boul. Iberville, Repentigny $. Série Virtuoso. Haydn: Variations, Hob.17: 6; Liszt: Études d exécution transcendante, #8 Wilde Jagd; Rachmaninoff: Étude-tableau, op.39 #3; Debussy: Étude 2 pour les tierces; Fauré: Nocturne #4, op.36; Scriabin: Sonate #5, op.53; Messiaen: Vingt regards sur l Enfant-Jésus, #10 Regard de l Esprit de joie; Chopin: Polonaise-Fantaisie, op.61. Tristan Longval-Gagné, piano > 2pm. Cégep Vanier, Salle A250, 821 boul. Ste-Croix, St-Laurent. 10$ contribution suggérée. CAMMAC Montréal, lectures à vue pour choeur et instrumentistes. Baroque and Renaissance Afternoon. Madrigals from serious to humorous; etc. Betsy Macmillan, cond. (durée 3h; partitions fournies; toutes les voix; instruments: surtout flûte à bec, viole; autres cordes et vents bienvenus) ; instrumentistes RSVP > 2:30pm. Centre Segal des arts de la scène, 5170 chemin Côte-Ste-Catherine $. Bravo Series. Fiesta Flamenco. Michael Laucke, guitar; etc.; dancers > 3pm. St. Barnabas Church, 95 Lorne, St-Lambert. 0-20$. Lumière d hiver. Healey Willan, Morten Lauridsen, Iman Raminsh, Tallis. Ensemble vocal Musica Viva; Cristian Gort, chef; Pierre McLean, piano > 3:30pm. Théâtre des Deux-Rives, 30 boul. du Séminaire Nord, St-Jean-sur-Richelieu $. Maestria. Musique de cinéma italien. Marc Hervieux, ténor; Sinfonia de Lanaudière > 7:30pm. CMM SC. 10$. Les Rendez-vous du dimanche. Debussy: Suite d orchestre #1 (transcription Debussy); etc. François Zeitouni, Olivier Godin, piano 4 mains Monday 23 > 7pm. McGU(mc) TSH. FA. Student Soloists > 8pm. Maison de la culture Frontenac, 2550 Ontario Est. EL. SMCQ Série Hommage/Ana Sokolovic. Ana Sokolovic: Ciaccona. Ensemble Transmission (f 29/1, 2 5/2) Tuesday 24 > 3:30pm. McGU(mc) SCL. FA. Piano Tuesdays > 6:30pm. La Grande Bibliothèque, Auditorium, 475 Maisonneuve Est. 30$. Musique de chambre. Le Québec et la France, paysages réunis. Campo (création); Pépin: Suite; Trio #1 pour violon, violoncelle et piano; Le Vaisseau d or (inspiré du poème de Nelligan); Fauré: Quatuor #1 pour piano et cordes. Ramsey Husser, Johannes Jansonius, violon; Natalie Racine, alto; Gary Russel, violoncelle; Louise-Andrée Baril, piano; Stephen Hegedus, basse; James Hyndman, lecteur > 7:30pm. PdA SWP $. Opéra de Montréal. OdM, Trovatore. (18h30, Piano nobile: conférence, Pierre Vachon, musicologue) , (h 21) > 8pm. McGU(mc) TSH. FA. Classes of Aiyun Huang and Fabrice Marandola, percussion Wednesday 25 > Centre Segal des arts de la scène, 5170 chemin Côte-Ste-Catherine $. Big Band Series. Schulich Benefit. McGill Jazz Orchestra > 6pm. McGU(mc) SCL. FA. String Area Class > 7:30pm. Église Notre-Dame-des-Sept-Douleurs, 4155 Wellington (& de l Église), Verdun. Tournée CAM. Fraternité cosmopolite. Armanini: Heartland; Blais: Dremlen Feygl Oyf Di Tsvaygn; Brouard: Oeuvre sur Baron Lacroix; Ichmouratov: Montréal la cosmopolite; musique klezmer. Orchestre Métropolitain; Aïrat Ichmouratov, chef; Ensemble Kleztory; Lang Tung, ehru; Patrice Laré, piano; Janice Jackson, soprano (f 26 28) > 7:30pm. UdM-MUS SCC. EL. Série Électro Buzzzzzzz. Compositions électroacoustiques d étudiants et de professionnels (f 26 27) Thursday 26 > 7:30pm. Centre Segal des arts de la scène, 5170 chemin Côte-Ste-Catherine $. Women of the World Series. Coral Egan > 7:30pm. McGU(mc) POL $. Opera McGill. Mozart: Don Giovanni. McGill S.O.; Gordon Gerrard, cond > 7:30pm. PdA MSM $. OM, cosmopolite. (18h30 gratuit: conférence bilingue) (h 25) > 7:30pm. PdA SWP $. Opéra de Montréal. OdM, Trovatore. (18h30, Piano nobile: conférence, Pierre Vachon, musicologue) , (h 21) > 7:30pm. UdM-MUS SCC. EL. Série Électro Buzzzzzzz (h 25) > 8pm. CMM SC $. SMCQ Série Hommage/Ana Sokolovic; SMCQ Série montréalaise. Quatre par quatre. Silvio Palmieri: Come in un film di ; Nicolas Gilbert: Fonctions vitales; Ana Sokolovic: Blanc dominant; Walter Boudreau: Le Grand Méridien. Quatuor Molinari , > 8pm. Théâtre de la Ville, Salle Pratt & Whitney, 150 Gentilly Est, Longueuil $. Série Grands concerts. Cinémaestro. R. Strauss: Ainsi parlait Zarathustra; J. Strauss II: Valse Le Beau Danube bleu; Mozart: Concerto pour piano #21; Mendelssohn: Symphonie #4 Italienne. O.S. de Longueuil; Marc David, chef; Minna Re Shin, piano Friday 27 > 12:30pm. McGU(mc) RED. FA. Noon-Hour Organ Series > 7:30pm. McGU(mc) POL $. Opera McGill. Mozart: Don Giovanni. McGill S.O.; Gordon Gerrard, cond > 7:30pm. UdM-MUS B $. Opéramania (projection commentée de films d opéra; Michel Veilleux, musicologue). Wagner: Le Crépuscule des dieux. Jeannine Altmeyer, Heinz Kruse, Kurt Rydl, Wolfgang Schöne, Anne Gjevang; Hartmut Haenchen, chef. (prologue, acte 1) (f 3/2) > 7:30pm. UdM-MUS SCC. EL. Série Électro Buzzzzzzz (h 25) > 8pm. CHBP $. Série montréalaise du QB. Nicolas Gilbert: Thomas devant la fontaine éteinte (création). Quatuor Bozzini; Simon-Pierre Lambert, comédien , > 8pm. CMM SC $. Lully, Muffat, Purcell: chaconnes. Ensemble Masques; troupe de danse Les Jardins Chorégraphiques > 8pm. McGU(mc) SCL. FA. Jazz Combos Saturday 28 > 12:30pm. Ciné-Met MTL $. MetOp_HD, Encore. Rodelinda. (h 3/12) > 7pm. École de musique Vincent-d Indy, 628 chemin Côte-Ste-Catherine $. Romances russes. Tchaikovsky, Rimsky-Korsakov, Glinka, Rachmaninoff, etc. Zoé Laterreur, Cody Growe, chanteurs; Alejandra Cifuentes Diaz, piano > 7:30pm. Église de la Visitation, 1847 boul. Gouin Est. 0-25$. Haydn: Quatuors à cordes, op.1 #6; op.50 #5; op.77 #2. Quatuor Franz Joseph > 7:30pm. McGU(mc) POL $. Opera McGill. OTTAWA & GATINEAU CONTEMPORARY MELODIES December 3 will be the perfect evening to hear the University of Ottawa s contemporary music ensemble. Frédéric Lacroix, a pianist and composer whose reputation has exceeded national boundaries, will conduct for the occasion. Lacroix is a music teacher still very active in the musical world; he left a lasting impression last September when he accompanied the Ottawa Symphony Orchestra for Rachmaninov s Rhapsody on a Theme of Paganini. Salle Freiman. MB CHRISTMAS TIMES TWO! Particularly of note on the Ottawa Chamber Music Society s program are Angèle Dubeau and la Pietà, who will take us on a journey across the melodies of different cultures. The program promises to be international and diverse, spanning the range between Antonio Vivaldi and Dave Brubeck! December 4, Dominion-Chalmers United Church. Second, the impressive soprano Natalie Choquette will join the Orchestre symphonique de Gatineau for Noël au coin du feu. They will be accompanied by 75 singers from the Conservatoire de musique de Gatineau. Choquette, whose musical universe is as varied as it is far ranging, will host the evening in two parts: an initial section for traditional, religious and classical Christmas carols will be followed by a second section with a more folkloric and interactive side. December 10, Maison de la culture de Gatineau. MB HANDEL S MESSIAH Music connoisseurs in the Ottawa region should take advantage of the concerts on December 13 and 14 at Southam Hall in the National Arts Centre. It s a chance to attend the performance of a true holiday classic, Handel s Messiah. Written in 1741 by the great German composer, the oratorio will here benefit from an amazing combination of PREVIEWS ANGÈLE DUBEAU PHOTO Luc Robitaille TREVOR PINNOCK PHOTO Andrew Stepan musical talents: a group of singers, a choir and the National Arts Centre Orchestra will be under the direction of the prestigious British conductor Trevor Pinnock, who was honoured by the British and the French states during the 1990s and is among the greatest Baroque music specialists. December 13 and 14. MB TRANSLATION: ARIADNE LIH 33

34 Mozart: Don Giovanni. McGill S.O.; Gordon Gerrard, cond > 7:30pm. PdA SWP $. Opéra de Montréal. OdM, Trovatore. (18h30, Piano nobile: conférence, Pierre Vachon, musicologue) , (h 21) > 7:30pm. St. Columba-by-the-Lake Church, 11 Rodney, Pointe-Claire. 12$ suggested donation. St. Columba Concert Series. Piazzolla, Falla, Bach, Paganini. Benoît Boisvert, violin; Cary Savage, guitar , > 7:30pm. UdM-MUS B-484. EL. Mozart, Beethoven, Diniky, Tchaikovsky. Classe d Eleonora Turovsky, violon; classe de Yuli Turovsky, violoncelle > 8pm. Cégep Marie-Victorin, Salle Désilets, 7000 Marie-Victorin, Rivière-des-Prairies. Tournée CAM. OM, cosmopolite (h 25) > 8pm. St. John the Evangelist Church (Red Roof), 137 Président-Kennedy (coin St-Urbain) $. SMCQ Série Hommage/Ana Sokolovic. Sur les traces d Ana. Ana Sokolovic: Ambient V; Cinque danze per violino solo; Telemann: Suite Gulliver; Miklòs Ròzsa: Sonate pour 2 violons, op.15a. Duo Beaudry-Belzile > 8pm. ThOutremont. 20$. Tremblement de fer. Jazz; improvisation; classique contemporain. Ensemble Pierre Labbé Sunday 29 > 10:45am. SASP. CV. 4e Dimanche après l Épiphanie. Karg-Elert: Canzona in G flat, op.46 II B; Keith Bissell: Christ, whose glory fills the skies; Julian Wachner: Arise, shine; Dan Locklair: Jubilo. Choeur de St. Andrew and St. Paul; Jordan de Souza, chef; Jonathan Oldengarm, orgue > 12pm. Centre de Création artistique de Laval, 430 5e Rue (Laval-des-Rapides), Laval. 10$, croissant et café inclus. Théâtre d art lyrique de Laval, Midi-concert. Mélodies, airs d opéras > 2pm. McGU(mc) POL $. Opera McGill. Mozart: Don Giovanni. McGill S.O.; Gordon Gerrard, cond > 2:30pm. St. John s Lutheran Church, 3594 Jeanne- Mance (coin Prince-Arthur). FD. Serenata at St. John s. Britten: Phantasy Quartet for oboe and strings, op.2; Mozart: String Quartet, K.465 Dissonance. Alexa Zirbel, oboe; Susan Pulliam, Sara Bohl Pistolesi, violin; Michael Krausse, viola; Donald Pistolesi, cello > 3pm. CCPCSH. SMCQ Série Hommage/Ana Sokolovic. Transmission, Sokolovic (h 23) > 8pm. McGU(mc) RED. FA. Doctoral Recital. Kate Haynes, baroque cello Monday 30 > 6:30pm. UdM-MUS SCC. EL. Mozart, Chopin, Debussy, Schumann. Sarah Ristorcelli, piano Tuesday 31 > 3:30pm. McGU(mc) SCL. FA. Piano Tuesdays > 7:30pm. McGU(mc) TSH. FA. Doctoral Recital. Jan Krejcar, piano FEBRUARY Wednesday 1 > 8pm. PdA MSM. 40$. Les grands concerts du mercredi 2. Wagner: Die Meistersinger von Nürnberg, prélude; Schumann: Concerto pour piano; Dvorak: Symphonie #7. O.S. de Montréal; James Conlon, chef; Alain Lefèvre, piano (f 2) Thursday 2 > 6pm. MBAM SBou $. Les 5 à 7 en musique. Bossa nova. André Rodrigues, guitare brésilienne x4, > 8pm. Maison de la culture Notre-Dame-de-Grâce, 3755 Botrel. EL. SMCQ Série Hommage/Ana Sokolovic. Transmission, Sokolovic (h 23/1) > 8pm. PdA MSM. 40$. Les grands concerts du jeudi 2 Power Corporation du Canada. OSM, Lefèvre (h 1) Friday 3 > 7:30pm. UdM-MUS B $. Opéramania (projection commentée de films d opéra; Michel Veilleux, musicologue). Wagner, Crépuscule. (actes 2-3) (h 27/1) > 8pm. PdA MSM $. Concert bénéfice de l Institut du cancer de Montréal. Bizet, Puccini, Catalani, Verdi, etc. Orchestre Métropolitain; Stéphane Laforest, chef; Marie-Ève Poupart, violon; Marie-Josée Lord, soprano , Saturday 4 > 1pm. Ciné-Met MTL $. MetOp_HD, Encore. Faust. (h 10/12) > 2:30pm. ThOutremont. 25$. Révélation Radio- Canada Franck: Sonate en la majeur; Chostakovitch: Sonate en ré majeur. Stéphane Tétreault, violoncelle; Sasha Guydukov, piano > 8pm. Église de la Purification B.V.M., 445 Notre-Dame, Repentigny. 20$. Série Art et Spiritualité. Présence. Claudel Callender: pièces pour piano (création). Claudel Callender, piano. (Projection d oeuvres du peintre Jacques Desgagnés sur grand écran; concert suivi d une dégustation de produits de l abbaye Val Notre-Dame) x3 > 8pm. Église St-François-Xavier, 994 Principale, Prévost. 20$. Nos jeunes virtuoses Bach, Brahms, Beethoven, Chopin, Ibert, Liszt, Ravel. Yogane Lacombe, Jonathan Jolin, piano Sunday 5 > 11am. Maison JMC. 9$. La Musique, c est de Famille!. Coucou musique!. (Pour les 3 à 6 ans; 45 minutes) (f 13) > 1:30pm. Maison JMC. 9$. La Musique, c est de Famille!. Coucou musique!. (Pour les 3 à 6 ans; 45 minutes) (h 11) > 2pm. Centre culturel de Verdun, 5955 Bannantyne, Verdun. EL. SMCQ Série Hommage/Ana Sokolovic. Transmission, Sokolovic (h 23/1) > 2pm. Théâtre du Vieux-Terrebonne, 866 St-Pierre, Terrebonne. 40$. Les beaux concerts. Hommage à la francophonie. Succès de Brel, Bécaud, Trenet, Charles Aznavour, Jean-Pierre Ferland, Robert Charlebois, Claude Dubois. Sinfonia de Lanaudière; Stéphane Laforest, chef; Marc Hervieux, ténor (f 19) > 2:30pm. PdA MSM. 40$. Les dimanches en musique. Grieg: Peer Gynt, suite; Sibelius: Concerto pour violon; Prokofiev: Symphonie #3. O.S. de Montréal; Jacques Lacombe, chef; Ray Chen, violon > 7:30pm. Théâtre du Vieux-Terrebonne, 866 St-Pierre, Terrebonne. 40$. Les beaux concerts. Sinfonia Lanaudière, Hervieux (h 14) Monday 6 > 8pm. MBAM SBou $. Haydn: Symphonie #93, Hob.1: 93; Vivian Fung: Sinfonietta pour cordes; Schumann: Concerto pour violoncelle, op.129; J.C. Bach: Sinfonia, op.18 #4. Orchestre de chambre de Montréal; Wanda Kaluzny, chef; Maarten Jansen, violoncelle , x4. Tuesday 7 > 6:30pm. PdA MSM. 30$. Musique de chambre. L Italie: Carnets de voyage. Verdi: Quatuor à cordes; Tchaikovski: Souvenir de Florence. Marianne Dugal, Olivier Thouin, violon; Rémi Pelletier, Lambert Chen, alto; Sylvain Murray, Anna Burden, violoncelle; Élise Guilbaut, lectrice QUEBEC REGION Unless indicated otherwise, events are in Québec, and the area code is 418. Main ticket counter: Billetech , Ciné-Met Québec (for the MetOp_HD broadcasts) Cinéplex Odeon Beauport, 825 Clémenceau, Beauport; Cinéplex Odeon Ste-Foy, 1200 boul. Duplessis, Ste-Foy GTQ Grand Théâtre de Québec, 269 boul. René- Lévesque Est, , : SLF Salle Louis-Fréchette ULav Université Laval, Cité universitaire, Ste-Foy: SHG Salle Henri-Gagnon (3155), Pavillon Louis-Jacques- Casault (Faculté de musique) DECEMBER 1 7:30pm. GTQ SLF $. Tchaïkovski/Fernand Nault: Casse-Noisette. O.S. de Québec; Allan Lewis, chef; Les Grands Ballets Canadiens de Montréal , (f 2 3 4) 1 8pm. ULav SHG. 2-5$. Département de musique du Cégep de Sainte-Foy. Orchestre à vent; René Joly, chef pm. Fairmont Le Château Frontenac, 1 des Carrières. 275$, 10 places pour 2500$. Magie et cadeaux au Château; soirée bénéfice au profit de l OSQ. Spectacle de magie. Luc Langevin, magicien :30pm. GTQ SLF $. OSQ, Casse-Noisette , (h 1) 2 8pm. ULav SHG. 2-5$. Département de musique du Cégep de Sainte-Foy. Orchestre de chambre; chorales; André Martin, chef :30pm. Ciné-Met Québec $. MetOp_HD, Live. Rodelinda. (h 3 Montréal) 3 2pm. GTQ SLF $. OSQ, Casse-Noisette , (h 1) 3 7:30pm. GTQ SLF $. OSQ, Casse-Noisette , (h 1) 3 8pm. ULav SHG. EL. Classe de Rémi Boucher, guitare pm. École des Ursulines, 4 du Parloir. 15$. Les Aprèsmidis des Ursulines. Palestrina: Magnificat; Marenzio: Magnificat; Arvo Pärt: Magnificat; Poulenc, Morten Lauridsen, Javier Busto, John Rutter: pièces pour Noël; noëls traditionnels (arr. Daignault, Raymond Daveluy, Puerling). Ensemble de musique sacrée de Québec (a cappella); Richard Duguay, chef (f 18) 4 2pm. GTQ SLF $. OSQ, Casse-Noisette , (h 1) 4 2pm. ULav SHG. EL. Classes de Marcel Rousseau et d Alain Trottier, clarinette :30pm. GTQ SLF $. OSQ, Casse-Noisette , (h 1) 4 8pm. ULav SHG. EL. Classes de cuivres; Monique de Margerie, piano pm. ULav Théâtre de la Cité universitaire, Pavillon Palasis-Prince, Cité universitaire, Ste-Foy. 5-10$. Grands ensembles. FaMUL jazz; Rémi Bolduc, chef pm. ULav SHG. EL. Classe de Zbigniew Borovicz, contrebasse pm. ULav SHG. LP. Debussy: Prélude à l après-midi d un faune; C.P.E. Bach: Concerto pour flûte, Wq O.S. de la Faculté de musique; Airat Ichmouratov, chef; Marie-Ève Paquin, flûte :30pm. GTQ SLF $. Opéra de Québec. Gala annuel. O.S. de Québec; Choeur de l Opéra de Québec; John Keenan, chef , pm. Palais Montcalm, Salle Raoul-Jobin, 995 place d Youville $. Série Baroque avant tout. Violons du Roy, Messiah , (f Montréal 11) 9 6pm. Place Ste-Foy, Cour centrale, 2450 Laurier, Ste-Foy. EL. Chants traditionnels de Noël. Choeur de l OSQ; David Rompré, chef , pm. Palais Montcalm, Salle Raoul-Jobin, 995 place d Youville $. Série Baroque avant tout. Violons du Roy, Messiah , (f Montréal 11) 10 12:55pm. Ciné-Met Québec $. MetOp_HD, Live. Faust. (h 10 Montréal) 16 8pm. Centre de foires de Québec (ExpoCité), Pavillon de la Jeunesse, 250 boul. Wilfrid-Hamel $. La grande virée de Noël. Chants traditionnels du temps des Fêtes; musique classique. O.S. de Québec; Stéphane Laforest, chef; Nicolas Pellerin et les Grands Hurleurs, musiciens traditionnels; Marie- Josée Lord, soprano; Grégory Charles, animateur , (f 17) 17 1pm. Ciné-Met Québec $. MetOp_HD, Encore. Don Giovanni. (h 17 Montréal) 17 1:30pm. Centre de foires de Québec (ExpoCité), Pavillon de la Jeunesse, 250 boul. Wilfrid-Hamel $. OSQ, grande virée Noël. (h 16) 17 8pm. Palais Montcalm, Salle Raoul-Jobin, 995 place d Youville $. Série Grands Rendez-vous. Marie-Nicole Lemieux et Bach pour Noël. Telemann: Ouverture, TWV55: F7 A la Pastorelle ; Bach: Oratorio de Noël, BWV248 (e); cantates pour le temps de Noël (e); Molter: Concerto Pastorale; F. Manfredini: Concerto grosso, op.3 #12 Pastorale per il Santissimo Natale. Les Violons du Roy; Eric Paetkau, chef; Marie-Nicole Lemieux, contralto , pm. Église Ste- Famille, 30 place de l Église, Cap- Santé. 0-10$. Les Dimanches en musique. EMSQ (h 4) JANUARY 2 2:30pm. GTQ SLF $. Salute to Vienna ; (h 1 Montréal) 6 8pm. GTQ SLF $. Club musical de Québec. Purcell, Berlioz, Schubert, Schumann, Liszt, Tchaïkovski, Duparc, Wolf, Hotrovitz, Poulenc. Susan Graham, mezzo; Malcolm Martineau, piano , pm. Ciné-Met Québec $. MetOp_HD, Encore. Satyagraha. (h 14 Montréal) 21 12:55pm. Ciné-Met Québec $. MetOp_HD, Live. The Enchanted Island. (h 21 Montréal) 28 12:30pm. Ciné-Met Québec $. MetOp_HD, Encore. Rodelinda. (h 3/12 Montréal) FEBRUARY 4 1pm. Ciné-Met Québec $. MetOp_HD, Encore. Faust. (h 10/12 Montréal) 5 8pm. GTQ SLF $. Club musical de Québec. Diana Damrau, soprano; Xavier de Maistre, harpe , ELSEWHERE in QUEBEC Ciné-Met elseqc (for the MetOp_HD live broadcasts) Cinéma Galaxy Sherbrooke, 4202 Bertrand-Fabi, Rock Forest; Cinéma Galaxy Victoriaville, 1121 Jutras Est, Victoriaville CMRim Conservatoire de musique de Rimouski, 22 Ste-Marie, Rimouski, : SBM Salle Bouchard-Morisset CMSag Conservatoire de musique de Saguenay, 202 Jacques-Cartier Est, Chicoutimi (région du Saguenay), GalaxyRF Cinéma Galaxy Sherbrooke, 4202 Bertrand- Fabi, Rock Forest DECEMBER 1 8pm. CMSag Salle Jacques-Clément. EL, CV. Concerts des ensembles. Kaléidoscope d ensembles. Ensembles vocaux, musique de chambre, jazz, baroque x239. (f 2) 2 7pm. CMRim SBM. EL. Les Exercices de classe. Classe d Éric Labbé, guitare pm. CMSag Salle Jacques-Clément. EL, CV. Concerts des ensembles. Kaléidoscope x239. (h 1) 3 12:30pm. Ciné-Met elseqc $. MetOp_HD, Live. Rodelinda. (h 3 Montréal) 3 8pm. Église St-Zénon, 459 Principale, Piopolis (région du lac Mégantic). 0-30$. Festival St-Zénon-de- Piopolis. Concert gala: Un Noël pas comme les autres. Marc Hervieux, ténor; ensemble instrumental; Claude Webster, piano am. Salle J.-Antonio-Thompson, Foyer Gilles- Beaudoin, 374 des Forges, Trois-Rivières. 0-14$. Muffins aux sons. Fantaisie sur Noël. Valérie Milot, harpe; Antoine Bareil, violon , pm. CMRim SBM. EL. Les Lundis du Conservatoire. Nicolas Delisle-Godin, Marie-Julie Boucher, clavecin; Pascal Demalsy, orgue; Philippe Moreau, Nicolas Migneault, guitare pm. CMSag Salle Jacques-Clément. EL, CV. Concert des jeunes. 20 élèves de niveau préparatoire et intermédiaire x pm. CMRim SBM. EL. Les Exercices de classe. Classe de Mariette Gendron-Bouchard, violoncelle pm. CMRim SBM. EL. Les Exercices de classe. Classe de Benoît Plourde, saxophone; classe de Trent Sanheim, trompette :55pm. Ciné-Met elseqc $. MetOp_HD, Live. Faust. (h 10 Montréal) 11 2pm. Salle Desjardins-Telus, Foyer, 25 St-Germain Ouest, Rimouski. 3$, café inclus. Dimanches musicaux. Classes d ensembles 11 2:30pm. Salle J.-Antonio-Thompson, 374 des Forges, Trois-Rivières $. Beaux dimanches. Noël. O.S. de Trois-Rivières; L Orphéon de Trois-Rivières; Jacques Lacombe, chef; André Gagnon, piano , pm. CMSag. EL, CV. La relève Arts-Études en concert. Karina Gaudreault, flûte; Geneviève Coulombe, Olivier Moreau, clarinette; Samuel St-Hilaire, trompette; Jeanne-Sophie Baron, Rosalie Lixing Boivin, Katerine Siket, violon; Mathieu-David Cox, Philippe Marcil, alto; François Lamontagne, Marie- Pier Simard-Gagnon, violoncelle; Zhakaël Bondu, Laura-Abigail Cox, Sarah-Élisabeth Cox, piano pm. CMRim SBM. EL. Les Lundis du Conservatoire. Daphné Bourbonnais, Frédéric Alexandre Michaud, David Xie, violon; Tom Jacques, percussion; Florence Tremblay, violoncelle; Paul Lavoie, Samuel Beaulieu, saxophone; Alexandrine Marcoux, Sarah Brousseau-Gosselin, guitare; Jasmine Skelling, clarinette :30pm. Maison des arts Desjardins-Drummondville, 175 Ringuet, Drummondville $. Nous sommes un cadeau!. Gossec: Première suite de Noël; Schubert; Symphonie #8 Inachevée ; Tchaikovski: Casse-noisette (e); Pierre Simard: Airs de Noël. O.S. de Drummondville; Cesario Costa, chef. (18h30 conférence, Cesario Costa, chef) , pm. GalaxyRF $. MetOp_HD, Encore. Don Giovanni. (h 17 Montréal) JANUARY 14 1pm. GalaxyRF $. MetOp_HD, Encore. Satyagraha. (h 14 Montréal) 21 12:55pm. Ciné-Met elseqc $. MetOp_HD, Live. The Enchanted Island. (h 21 Montréal) 26 8pm. CMSag. EL, CV. Les Jeudis Découvertes du Conservatoire; niveau préparatoire. Pier-Yves Girard, trombone; Catherine Gravel, Marie- Aude Turcotte, violon pm. Maison de la culture de Trois-Rivières, 1425 place de l Hôtel-de-Ville, Trois-Rivières $. Brouillard. Bartók, Jongen, Halvorsen, Helmut Lipsky, Shield, O Connor, Antoine Bareil, Holst, Clarke. Antoine Bareil, violon; Sébastien Lépine, violoncelle (f 29) 28 12:30pm. GalaxyRF $. MetOp_HD, Encore. Rodelinda. (h 3/12 Montréal) 28 8pm. Salle J.-Antonio-Thompson, 374 des Forges, Trois- Rivières $. Grands concerts. J. Hétu: Antinomie, op.23; Weill: chansons; Symphonie #1; Gershwin: chan-

35 sons; Un Américain à Paris. O.S. de Trois-Rivières; Jacques Lacombe, chef; Fabiola Toupin, voix , pm. Centre des arts de Shawinigan, 2100 boul. des Hêtres, Shawinigan $. Bareil, Lépine (h 27) FEBRUARY 1 2pm. CMSag. EL, CV. Cours de maître. Julie Cossette, violon pm. CMSag. EL, CV. Les Jeudis Découvertes du Conservatoire; niveau préparatoire. Étienne Morissette, flûte; Gabrielle Bouchard, violon; Francis Rossignol, orgue pm. GalaxyRF $. MetOp_HD, Encore. Faust. (h 10/12 Montréal) OTTAWA - GATINEAU Unless indicated otherwise, events are in Ottawa, and the area code is 613. Main ticket counters: NAC ; Ticketmaster NAC National Arts Centre, 53 Elgin St., : SH Southam Hall NACO National Arts Centre Orchestra StarCité Gatineau Cinéma StarCité Gatineau, 115 boul. du Plateau, Gatineau UofO University of Ottawa: AlumniAud Room 014 (Alumni Auditorium), 85 University (Jock Turcot Centre); Perez121 Room 121 (Freiman Hall), 610 Cumberland (Pérez Building) DECEMBER 2 10am. UofO Perez121. FA. Astral Artist Mentorship Program: workshop. Performance Awareness from Studio to Stage. Dr. John Chong (Medical Director, Musicians Clinics of Canada, Toronto). (part 2; 10am-12, 2pm-4pm) :30pm. Orleans United Church, 1111 Orleans Blvd. 0-20$. Northern Lights: a celebration of Canadian choral compositions. Donald Patriquin (arr.), Ron Smail (arr.), Bruce Sled, Donald Patriquin, Edward Henderson, Eleanor Daley, Mark Sirett, Stephanie Martin, Stephen Chatman, Stephen Eisenhauer, Tim Corlis, etc.. Coro Vivo Ottawa; Antonio Llaca, cond pm. St. Brigid s Centre for the Arts and Humanities, 310 St. Patrick (& Cumberland). CV. Orchestra Series, Astral Artist Mentorship Program. Handel: Music for the Royal Fireworks; Concerto grosso, op.6 #9; Beethoven: Symphony #4. University of Ottawa Orchestra; Jeanne Lamon, cond :30pm. StarCité Gatineau $. MetOp_HD, Live. Rodelinda. (h 3 Montréal) 3 8pm. Knox Presbyterian Church, 120 Lisgar (at Elgin). $5-25. Christmas Stories. Bach: Christmas Oratorio, chorales; Arvo Pärt: Magnificat; Stephen Chatman: Carols of the Nativity; Christmas carol sing-along; readings: H.C. Andersen: The Little Match Girl; other Christmas stories. Cantata Singers of Ottawa; Michael Zaugg, cond.; Adrian Harewood, narrator. (7: 30pm talk: Michael Zaugg, cond.) pm. UofO Perez121. CV. Contemporary Music Ensemble (EMC2) :30am. NAC SH $. Special Kinderconcert. A Christmas Carol. Pierre-Alexandre Saint-Yves, voice, flute, rauschpfeife, hurdy gurdy; Andrew Wells-Oberegger, voice, bouzouki, bagpipes, guitar, percussion; Chloé Dominguez, cello; Isabeau Proulx Lemire, actor. (English performance) , (f 11am) 4 11am. NAC SH $. Special Kinderconcert. A Christmas Carol. (French performance) , (h 9:30am) 5 10am, 1pm. UofO Perez121. CV. Chamber Music Ensembles (f 6) 6 1pm. UofO Perez121. CV. chamber music ensembles (h 5) 6 7:30pm. UofO Perez121. CV. Guitar class pm. UofO Room 112 (formerly Tabaret Chapel), 550 Cumberland (Tabaret Building). CV. A Musical Offering for Christmas. Schütz: Jauchzet dem Herren; Sweelinck: Hodie, Christus natus est; John Tavener: The Lamb; traditional hymns and carols: Quelle est cette odeur (arr. Willcocks); Il est ne le Divin Enfant (arr. John Rutter); Angelus (arr. Larkin); etc. Calixa Lavallée Ensemble; Choral Ensemble; etc.; Matthew Larkin, cond pm. UofO Room 112 (formerly Tabaret Chapel), 550 Cumberland (Tabaret Building). FA. Piano Duets & Duos. Class of Frédéric Lacroix, piano pm. NAC SH $. CTV Pops Series. A Ray Charles Tribute. NACO; Jeff Tyzik, cond.; Ellis Hall, piano, vocals , (f 10) 10 12:55pm. StarCité Gatineau $. MetOp_HD, Live. Faust. (h 10 Montréal) 10 7:30pm. Woodroffe United Church, 207 Woodroffe Ave $. Christmas Carols. Adam: O Holy Night; Gruber: Stille Nacht; O Little Town of Bethlehem; etc. Stairwell Carollers, a cappella choir pm. Église St-François-de-Sales, 799 Jacques- Cartier, angle Gréber, Gatineau. 20$. Évocation des cantiques de Noël. Charpentier: Messe de Minuit; Joseph-Julien Perrault: Deo Infanti; Lloyd Larson: Holy Night of Miracles. Choeur classique de l Outaouais; Tiphaine Legrand, chef; Frédéric Lacroix, piano, orgue (f 11) 10 8pm. NAC SH $. CTV Pops Series. NACO, Hall , (h 8) 11 4pm. Église St-François-de-Sales, 799 Jacques- Cartier, angle Gréber, Gatineau. 20$. Choeur classique Outaouais (h 10) 13, 14 7pm. NAC SH $. Special Concerts Series. Handel: Messiah. NACO; Ottawa Festival Chorus; The Ewashko Singers; Trevor Pinnock, conductor; Lydia Teuscher, Jill Grove, Michael Colvin, Phillip Addis , pm. UofO Perez121. FA. Astral Artist Mentorship Program. Piano Masterclass. André Laplante, pianist. (until 4pm) pm. NAC SH $. Special Concerts Series. Gospel Christmas. NACO; Andrew Craig, cond., host; Sharon Riley and The Faith Chorale; Jackie Richardson, Kellylee Evans, Alana Bridgewater, Christopher Lowe, vocalists , pm. StarCité Gatineau $. MetOp_HD, Encore. Don Giovanni. (h 17 Montréal) 18 2pm. National Gallery of Canada, Auditorium, 380 Sussex Drive $. Music for a Sunday Afternoon. Telemann: Overture-Suite for trumpet, oboe and strings D Major, Tafelmusik ; Handel: Chaconne and Variations in G for harpsichord; Trio Sonata in B flat Major, op.2, #3; Scarlatti: Cantata Pastorale per la Natività. Members of the NACO; Lucy Crowe, soprano; Yosuke Kawasaki, violin; Charles Hamann, oboe; Karen Donnelly, trumpet; Trevor Pinnock, harpsichord am. Coliseum Cinemas Ottawa, 3090 Carling Ave. 5-10$. MetOp_HD, Special Holiday Encores. Zauberflöte (h 28 Montréal) 28 11am. SilverCity Cinemas Gloucester, 2385 City Park Drive, Gloucester. 5-10$. MetOp_HD, Special Holiday Encores. Zauberflöte (h 28 Montréal) JANUARY 5 8pm. NAC SH $. Bostonian Bravo Series. Symphony of Dance. Haydn: Symphony #88; Beethoven: Piano Concerto #1; Symphony #7. NACO; Pietari Inkinen, cond.; Saleem Abboud Ashkar, piano. (Pre-concert music: Lindsay Bryden, flute) , (f 6) 6 8pm. NAC SH $. Bostonian Bravo Series. NACO, Ashkar. (Pre-concert music: Lindsay Bryden, flute) , (h 5) 11, 12 8pm. NAC SH $. Ovation Series. Schubert: Symphony #8 Unfinished ; Bruch: Scottish Fantasy for violin and orchestra; Beethoven: Symphony #6 Pastoral. NACO; Alexander Shelley, cond.; Yosuke Kawasaki, violin. (Pre-concert music: Robin Best, harp) , (f 12) 14 1pm. StarCité Gatineau $. MetOp_HD, Encore. Satyagraha. (h 14 Montréal) 14 1:30pm, 3:30pm. NAC SH $. TD Bank Group Family Adventures. The Mozart Experience. NACO; Richard Lee, cond.; Timmy Chooi, violin; Jason Nedecky, baritone; Magic Circle Mime Company; Maggie Peterson, Douglas Mac- Intyre, actors. (Free learn-and-play pre-concert activities) , pm. NAC SH $. Great Performers Series. Beethoven: Egmont Overture; Violin Concerto; Elgar: Enigma Variations. Royal Philharmonic Orchestra; Pinchas Zukerman, cond., violin; Kirill Gerstein, piano , pm. NAC SH $. Special Concerts Series. Bruch: Violin Concerto #1; Berlioz: Symphonie fantastique. NACO; Royal Philharmonic Orchestra; Pinchas Zukerman, cond., violin. (Pre-concert chat: Jean-Jacques Van Vlasselaer: Tchaikovsky, the man ) , pm. NAC SH $. CTV Pops Series. Bond and Beyond. NACO; Michael Krajewski, cond.; Debbie Gravitte, vocals , (f 21) 21 12:55pm. StarCité Gatineau $. MetOp_HD, Live. The Enchanted Island. (h 21 Montréal) 21 8pm. NAC SH $. CTV Pops Series. NACO, Gravitte , (h 19) 26 7pm. UofO AlumniAud. $5-10. Opera Productions. Mozart: Don Giovanni. University of Ottawa Opera Company; University of Ottawa Chamber Orchestra; Rennie Regehr, cond (f ) 27 7pm. UofO AlumniAud. $5-10. Opera Productions. UofO Opera, Don Giovanni (h 26) 28 12:30pm. StarCité Gatineau $. MetOp_HD, Encore. Rodelinda. (h 3/12 Montréal) 28 7pm. UofO AlumniAud. $5-10. Opera Productions. UofO Opera, Don Giovanni (h 26) 29 9:30am, 11am, 1:30pm, 3pm. NAC SH. 9-39$. Kinderconcerts. Head in the Clouds. Annabelle Renzo, harp. (3pm: French performance) , pm. UofO AlumniAud. $5-10. Opera Productions. UofO Opera, Don Giovanni (h 26) FEBRUARY 1 8pm. NAC SH $. Mark Motors Audi Signature Series. Weber: Der Freischütz: overture; Mendelssohn: Violin Concerto; Sibelius: Symphony #2. NACO; Pinchas Zukerman, cond.; Viviane Hagner, violin. (Pre-concert chat: Jean-Jacques Van Vlasselaer: When Romanticism Hits the Nation ) , (f 2) 2 8pm. NAC SH $. NACO, Hagner. (Pre-concert chat: Jean-Jacques Van Vlasselaer: Quand le romantisme secous las nation ) (h 1) 4 1pm. StarCité Gatineau $. MetOp_HD, Encore. Faust. (h 10/12 Montréal) 7 8pm. NAC SH $. Great Performers Series. Liszt: Les Années de pèlerinage, Première et Deuxième années. Louis Lortie, piano , CBC Canadian Broadcasting Corporation. cbc.ca , , R2 Radio Two. Ottawa 103.3FM, Montréal 93.5FM. SATO Saturday Afternoon at the Opera CIBL Radio-Montréal 101,5FM. cibl1015.com. Dim 20h-21h, Classique Actuel, les nouveautés du disque classique, avec Christophe Huss CIRA Radio Ville-Marie. radiovm.com Montréal 91,3FM, Sherbrooke 100,3FM, Trois-Rivières 89,9FM, Victoriaville 89,3FM. Lun-ven 6h-7h Musique sacrée; 10h-11h Couleurs et mélodies; 14h30-16h30 Offrande musicale; 20h30-21h Sur deux notes; 22h-23h Musique et voix; sam. 6h-7h30 Chant grégorien; 8h30-9h Présence de l orgue; 9h-10h Diapason; 12h-12h30 Sur deux notes; 13h-13h30 Dans mon temps; 15h30-16h Musique traditionnelle; 20h30-21h Sur deux notes (reprise de 12h); 21h-22h à pleine voix; 22h-23h Jazz; dim. 6h-7h30 Chant grégorien; 13h30-14h30 Avenue Vincent-d Indy; 17h-18h Petites musiques pour..; 22h- 23h Chant choral; 23h-24h Sans frontière; et pendant la nuit, reprises des émissions du jour CJFO station communautaire francophone, Ottawa- Gatineau. cjfofm.com. Dim 9h-12h La Mélomanie, musique classique, avec François Gauthier, CJPX Radio Classique. cjpx.ca Montréal 99,5FM. Musique classique 24h/jour, 7 jours/semaine CKAJ Saguenay 92,5FM Lun 19h Musique autour du monde, folklore international, avec Claire Chainey, Andrée Duchesne; 21h Radiarts, magazine artistique, avec David Falardeau, Alexandra Quesnel, Alain Plante; 22h Franco-Vedettes, chanson québécoise et française, avec Audrey Tremblay, Nicolas McMahon, Gabrielle Leblanc; mar 19h Prête-moi tes oreilles, musique classique, avec Pauline Morier-Gauthier, Lily Martel; 20h Bel Canto, chant classique d hier à aujourd hui, avec Klaude Poulin, Jean Brassard; 21h Mélomanie, orchestres et solistes, avec Claire Chainey; mer 21h Jazzmen, avec Klaude Poulin, éric Delisle CKCU Ottawa s Community Radio Station, 93.1FM. Wed 9-11pm In A Mellow Tone, host Ron Sweetman CKIA Québec 88,3FM MetOp Metropolitan Opera international radio broadcasts, all with the MetOp orchestra & chorus; live from New York on CBC R2 / diffusés sur SRC EM Radio Shalom Montréal 1650AM. Tue 11pm, Sun 4pm Art & Fine Living with Jona, art and culture in Montréal; interviews with artists of the theatre, cinema, opera, jazz, etc., host Jona Rapoport SRC Société Radio-Canada. radio-canada.ca EM Espace musique. Montréal 100,7FM; Ottawa 102,5FM; Québec 95,3FM; Mauricie 104,3FM; Chicoutimi 100,9FM; Rimouski 101,5FM. OPSAM L Opéra du samedi WVPR Vermont Public Radio Burlington 107.9FM; can be heard in Montreal DECEMBER 3 12pm. Société Radio-Canada, Espace musique. L opéra du Metropolitan Opera, New York. Handel: Rodelinda. Orchestre et Choeur du Metropolitan Opera de New York; Harry Bicket, chef; Renée Fleming, Stephanie Blythe, Adreas Scholl, Iestyn Davies, Joseph Kaiser, Shenyang. (En direct du Met NY) CLASSIFIEDS VOICE TEACHER Training for professional public speakers, actors, singers, teachers, etc. Improve projection, tone & confidence. Courses adapted to everyone's goal, level & musical style. Give a voice lesson as a gift for Xmas / / VOLUNTEERS LA SCENA MUSICALE seeks volunteers for: Fundraising Committee, Distribution, Public relations, Project coordination, Writing, editing, translations, Website, , P, YANO IMGFAYLADIWMUIMSWASC, Z $12 / 120 characters; $5/40 additional characters Tel.: (514) / 35

36 SALUTE TO VIENNA Salute to Vienna by WAH KEUNG CHAN it takes a lot of hard work and dedication to organize 17 concerts in 16 cities, all happening within the span of four days around New Year s. For the last 18 years, Attila Glatz Concert Productions has managed this feat through its highly successful Salute to Vienna concerts. The key to the success of Salute to Vienna is offering topquality singing and dancing to the lighthearted music of 19 th century Vienna (healthy helpings of the waltzes of Johann Strauss and Von Suppé). In each city, Glatz uses the best local orchestra and brings in the conductor, two singers and dancers from Europe. Auditioning and coordinating 120 soloists as well as multiple orchestras and venues is a huge undertaking. We believe in presenting good singers, and we never repeat the same cast in the same market, boasted Glatz, the Hungarian-born Canadian, who, with his wife Marion, has been the series driving force. It all began in 1995 with a concert in Toronto at the 1,000-seat Toronto Centre for the Arts. Both Marion and Attila had experienced the Viennese New Year celebration in their youth, and they wanted to bring that idea to Toronto. At that time, Attila already had over 10 years of concert production experience, having founded the Huntsville Festival of the Arts in 1993 and was on the board of the North York Symphony. We thought nobody would come on January 1 and that it would be a big financial risk to hold it in Roy Thomson Hall, so we held the concert in North York, with the North York Symphony, said Glatz. That first concert must have tapped into a hidden demand, as it sold out almost immediately. It was such a big success that Charles Cutts, president of Roy Thomson Hall, suggested we bring it to that bigger hall, said Glatz. In its second year, Salute to Vienna not only expanded to a second city, it moved permanently to Roy Thomson Hall, selling out that venue every year. The third year of Salute to Vienna was expanded to five cities, including Vancouver and New York. It was so risky I had to borrow the venue deposit for Lincoln Center from a friend and thank god he gave it to me, said Glatz. All five concerts sold out. We now thought we had something, that this was a tradition, Glatz explained. Encouraged, he then brought the idea to 15 cities in the fourth year, reaching a high of 33 cities at one point. A love of music, traced back to his youth, is evident when one talks to Glatz. At age four, Behind the Tradition of Clockwise from TOP: NEW YORK: Vienna Dancers; BOSTON 2004: tenor Jerry Hadley, soprano Helena Holl and conductor Manuel Hernandez Silva; FOUNDERS: Marion and Attila Glatz. he started playing the piano. I just sat down and played a song, and then my parents took me to a teacher, explained Glatz. At four and a half, he became a bit of a prodigy, giving concerts and studying piano and composition at the Franz Liszt Academy in Budapest. In his teens, Glatz took a liking to jazz. Through his music, he was able to leave Hungary; because of communism, we all wanted to leave. Glatz joined a group that left to play in West Germany for two years. Later, he signed a contract to play in Canada and he immigrated. Glatz subsequently became the national concert organist for the Hammond Organ Company and toured all over Canada. Glatz was performing when he met Marion. I was playing piano in a ski resort in Switzerland, and she was just on holiday there, said Glatz. Born in Berlin to a Viennese father and a Polish mother, Marion grew up with a passion for both business (receiving a Master of Business diploma in Nuremburg) and the arts. In Munich, Marion worked in the recording and publishing industry for 19 years. She was a really big classical music fan and we went to a lot of concerts, said Glatz. I started to like classical music again and I felt I was going back to my roots. In 1983, after going back and forth between Canada and Munich, Marion joined Glatz permanently in Toronto to start their concert production business. According to Glatz, the New Year s concert has always been a tradition in Europe. The concert in Vienna is televised to 1.3 billion people all over the world, said Glatz. Aside from Japan, where visiting Viennese orchestras have developed a following, that tradition was non-existent outside of Europe. The Glatz s saw an opportunity, but rejected franchising out the idea. So far, he has had a monopoly on North America, establishing Salute to Vienna in all the major markets, such as Los Angeles, New York, Chicago, Washington, Philadelphia, Florida and San Diego. It s all over Canada, from Montreal to Vancouver; last year, we added Quebec City, which was sold out, he confirmed. Although they don t receive any financial support from Vienna or the Austrian government, Glatz has the endorsement of the city s mayor, as well as the president and chancellor of Austria. Glatz is now looking to expand to Australia, South America and, possibly, Asia. Although organizing Salute to Vienna is already a yearlong undertaking, Glatz also promotes other concerts. Five years ago, Glatz teamed up with Roy Thomson Hall for Bravissimo!, an annual opera gala in Toronto modeled on the millennium opera gala that took place in When we moved it to New Year s Eve two years ago, it became really popular, said Glatz. Last month, Glatz presented Canadian composer Zane Zalis s Holocaust oratorio i believe to a sold-out Roy Thomson Hall, and he hopes to take it to other cities. Business is one thing and music is another. In my heart, I m still a musician. LSM Salute to Vienna, Dec. 30 to Jan. 2. Vancouver, Calgary, Edmonton, Toronto, Montreal, Quebec City 36

37 FUNDRAISING Concert against Cancer A success story by CAROLINE RODGERS the Concert contre le Cancer (Concert Against Cancer), the primary source of funding for the Institut du cancer de Montréal, celebrates its fifth anniversary this February. In five years, the dedication of its volunteers and its director-general, Maral Tersakian, as well as its shock advertising campaign showing composers with bald heads, has made it a success. The last two editions have raised between $550,000 and $570,000 each. We found a winning formula, says Maral Tersakian. It draws as many business heads and classical music lovers as it does members of the general public who have never gone to a symphonic concert, and may never otherwise have, but are motivated by the fight against cancer. This is one charity event that is accessible to all budgets; ticket prices run from $35... up to $2,500! We didn t want to make it an elitist soirée, says Mrs. Tersakian. To thank our diamond and silver partners for their more generous donations, we organize a VIP cocktail before the concert. This annual event has also helped bring the Institute to the greater public. I often speak to people who call to purchase tickets, and many of them have been intimately affected by the disease, explains the director. Four sisters and their spouses bought tickets because their sister had died of cancer the year before. This was their way of commemorating a tragic anniversary. How it all got started Walks, balls, bike rallies there is already a host of activities and events dedicated to raising funds to fight cancer. Those at the Institute asked themselves what they could do to raise money that would stand out. Why not a classical music concert? It was also an excellent way to celebrate the organization s 60 th anniversary Looking at a profile of our donors, we found that they are educated, well established, and of a certain age, says Mrs. Tersakian. We thought a symphony concert corresponded well to this profile. Ambitious from the start, the first concert was held in Salle Wilfrid- Pelletier. We had the chance to pair Yannick Nézet-Séguin and Louis Lortie, who played together for the first time. It was a success, she recalls. It wasn t until the second year that the event took its current name of Concert contre le cancer. Marketing firm kbs+p had the ingenious idea of putting Mozart with a bald head on the ads. It had an extraordinary media impact, adds the director. Since then, Verdi and Strauss (and for the next campaign, Bizet) have had their heads shaved to support the cause. The Institut du cancer de Montréal was founded in 1947, making it the first francophone cancer research institute in North America. But with the creation of the CHUM (the University of Montreal Hospital Centre), its mission changed and the foundation s aim changed to supporting the CHUM research centre. It s a relatively small foundation, says Maral Tersakian. We addressed the need to target our efforts, and we decided to create the program Rapatriement de cerveaux (Repatriating Brains). As a society, we lose a lot of scientists trained in our universities. They go elsewhere to do postdoctoral studies and never come back to Quebec because there isn t as much funding and start-up capital for research here as in other countries. The program has made good on its promise; in the last four years, five toplevel researchers have come back to settle here. The concept of bringing scientists back into the fold has been very well received in the business community. The Institute easily recruited prestigious members of the business community to be part of the campaign s office and donate, sign letters, and open doors. The businesspeople who get involved with or donate money to a cause want to know what is done with the money to ensure that it s used effectively, explains Mrs. Tersakian. A researcher who settles here becomes like an SME over time. He or she receives funding and hires staff. This means in addition to advancing scientific research, we re stimulating economic activity as well. By adding a classical music concert to finance the program, we find ourselves with many ingredients that contribute to success. When you have an interesting and wellorganized project, people want to participate. Furthermore, the organization reduced its operating costs to a minimum by soliciting sponsorships for the material necessary to the ad campaign. Everything that we ve gotten for free from the media and from suppliers is a key to success, she adds. I spend six months of the year negotiating all that. It draws as many business heads and classical music lovers as it does members of the general public who have never gone to a symphonic concert, but are motivated by the fight against cancer. - MARAL TERSAKIAN, director-general of the Institut du cancer de Montréal. PHOTO Luc Lauzière - Multimédia CHUM The upcoming Concert Against Cancer will take place February 3, 2012, at 8 p.m. and will be held for the first time at Montreal s Maison Symphonique. The audience will hear the Metropolitan Orchestra, under the baton of Stéphane Laforest, soprano Marie-Josée Lord, and violinist Marie-Ève Poupart playing a program of works by Bizet, Puccini, Gershwin, Gilles Vigneault, and Starmania s Le monde est stone. TRANSLATION: REBECCA ANNE CLARK LSM 37

38 jazz Jazz is particularly fond of heroes. Often larger than life, they are both objects of praise and scrutiny, on stage and on record. Yet, for each one of those, there are legions of workmanlike players who deserve a place in the sun. In Montreal, for instance, saxophonist Frank Lozano qualifies as a true musician s musician. Since his arrival from Toronto some 20 years ago, this multi-instrumentalist (who plays both tenor and soprano as well as bass clarinet and flute) is one of the city s most dependable jazz journeymen. Appreciated by his colleagues, he fits like a glove in a variety of situations, ranging from standard jazz practices to more exploratory forms of music making. With his name gracing five records issued over the last couple of months, one of these casting him in the more infrequent role of band leader, 2011 seems to be a banner year. Taking time from his busy schedule, he sat down with this writer one morning to share some valuable insights, offering an insider s perspective on each of these productions.» Frank Lozano Montreal Quartet Destin (Effendi FND 113) In 2007, I put out my first record as leader (Colour Fields) with musicians from Ottawa and Toronto; that explains for the most part why I called this one Montreal Quartet. Being a sideman for me means interpreting someone else s vision as faithfully as possible. When it comes to being a leader, I see it as a shift in function. But my sideman experience serves me well here, because I can put myself very easily in my bandmates shoes. When presenting your own music, there is added responsibility for sure; it s much more personal, closer to you. I have to say I m very happy about this record because we did it the right way: we played a year and a half before making it.» Autour de Bill Evans (FND 112) This group was my idea. I act as its musical director but don t consider myself the leader. If someone is, it s Bill Evans. Three, four years ago, Pierre Tanguay (drummer of this group) asked me put a trio together with bassist Michel Donato to perform in Rimouski for its off jazz festival. We played standards, and it Frank LOZANO More than just a sideman by MARC CHÉNARD PHOTO Jean-Pierre Dubé went so well I felt we could do more. I wanted to take it a step further. Michel loves Bill Evans, he even played once with him (and Philly Joe Jones) back in 1977, so that was the impetus. François Bourassa came into the picture later, but he was part of my band by then. I was surprised that he and Michel had never played together, and it seemed like a perfect fit. It clicked from the get go. It s worth mentioning the record is called Autour de Bill Evans (i.e. Around ), so it s not a tribute band covering just his tunes but others associated with him. That opens up the repertoire.» Auguste Quartet Homos Pugnax (FND 115) I ve been part of (bassist and label boss) Alain Bédard s band for years now, but not on a continual basis, of course. (It dates back to the mid-1990s, pre-effendi days.) This album differs from the previous ones in that we were tackling material not previously road tested, or very little at least. When I record, I try to memorize pieces, especially standards; it s one less barrier to deal with. Here we were dealing with charts, some actually quite difficult, like Casse-pattes (second track), a crazy tune full of odd meters, with the one (downbeat) often not marked. But we got through them in two or three takes for each. When you do more, it s over. It s like a romantic session: if the phone rings more than twice, then forget it, let s try some other time!» Josh Rager Kananasakis (FND 116) I was on his previous sextet date for the label (Time and Time Again), but I am guest player on only one track, Billy Strayhorn s U.M.M.G. (short for Upper Manhattan Medical Group ). The piece was sort of in my head, but I d never really learnt it, so I had to. Then Josh said he wanted to play it in 7/4 time rather than the usual 4/4 (which means playing with the note durations to make it fit in alternating 4- and 3-beat measures). First we discussed it on the phone, he sang it to me and then tried it out once during a session with musicians different from those on the record. For the record, we did three takes, two were kept and Josh made the final pick.» Thom Gossage Other Voices In Other Words (Songlines ) Thom s music is always challenging, but he s so on the money: he s the kind of guy who is listening to every little thing everybody is doing. Over the last five years, he s taken his vision of the music, or the sound in which he wants to express himself, and has changed it to make it fit us to a certain extent. But it s not a matter of writing this or that for me because that s what I like to do, but it s more I hear this in Frank, so I will pull it out of him. We rehearsed a lot, four or five times before going to the studio, and did it all in a single day, though we were all wasted by the end of it. The nice thing, though, is that in spite of its difficulty, you come out of it somewhat transformed. And that s why I hired Thom to be part of my own band. This record is really about limitations and oppositions. There are sections that might appear completely open when we re really working on a very specific idea of group architecture, with independent voices. Once you get inside the bubble, the limitations are very interesting. It s paradoxical in a way, yet those limitations give added depth. Read complete interview transcript at: LSM 38

39 «Montreal mainstreaming by ANNIE LANDREVILLE Alexandre Côté: Transitions Effendi FND 114 (www.effendirecords.com) Much in demand as a sideman, saxophonist Alexandre Côté has finally issued a first recording under his own name. This veteran of some 40 record sessions also teaches at the St- Laurent Cegep. In 2012 he was heard on Rémi Bolduc s disc Hommage à Charlie Parker, this year s winner of a Félix award for jazz. Last summer Côté earned the TD Jazz Award at Montreal s international Jazz Festival, which lead him to record the present album. He is ably assisted here by Jonathan Cayer (piano), Dave Mossing (trumpet), Kevin Warren (drums) and Dave Watts (bass), with tenor saxophonist David Bellemare guesting on two tracks. Its title, Transitions, indicates a shift to a leader s role from a musician who has earned his sideman stripes over the years. It is as much a record geared towards the future as the past, and of the pieces two pay tribute to influential figures on his development, namely, Blues pour Ornette, and Wayne s Spirit (the latter with a sterling alto solo), with a nod to the birthplace of jazz in New Orleans Groove. He is heard on alto throughout, his main axe. His broad musical knowledge allows him to strike a perfect balance between modern jazz, which is now classic in its own right, and his own leanings towards more contemporary styles. Let s hope he doesn t wait too long to follow up on this fine first effort! Steve Amirault: One existence Self-produced by the artist (www.steveamirault.com) Steve Amirault is one of the top jazz pianomen in Montreal. At once versatile and precise, he knows how to impress listeners when performing. For some time now, this Acadian-born pianist has been writing songs, but he has decided to take the plunge and record them himself. All but one track are penned by him, the exception being the music to Live to Love, written by his guitarist brother Greg. This is very much a do-it-yourself endeavour, and the album was subsidized through presales. On it he is ably backed by bassist Rémi- Jean Leblanc and drummer Samuel Joly. All but two tracks have English lyrics; the exceptions are sung in French (albeit a little awkwardly), one in tribute to his grandmother, the other to Acadian history. There s a pop tinge to the music but it s still firmly rooted in jazz. Steve Amirault has an interesting voice, deep toned, with a solid grasp of melody, somewhere between that of a crooner and a singer of musicals. The melodies are fine indeed but off the record not devoid of clichés. Heroes, which lasts over nine minutes, is the only cut where the trio stretches out, and the group s presence is better felt here as is the case when on stage, where Amirault the singer is far more convincing. TRANSLATION: ELISABETH GILLIES Taurey Butler: Taurey Butler Justin Time JUST 242 (www.justin-time.com) Taurey Butler is without question a flamboyant pianist. His playing is at once energetic, voluble, at times excessive, as if he wants to cram all existing notes onto one disc. A very melodic player and a hard swinger to boot, he s definitely influenced by Oscar Peterson, to the point of fully assuming his role model s stylings. On this debut, he alternates between old evergreens like Moonlight in Vermont and The Lady is a Tramp, and originals very much in keeping with the standard jazz idiom. Taurey Butler likes solid melodies and plays his own tunes with lots of expression, for instance Grandpa Ted s Tune and The Preacher, the latter very well rendered and with an authentic gospel feel to it. His trio mates, drummer Walli Muhammad and bassist Éric Lagacé, are discreet in their supporting roles, and take only brief yet faultlessly played solos. TRANSLATION: ARIADNE LIH Improv «and beyond by MARC CHÉNARD Mecha Fixes Clock: Teoria dell elastica di Girolamo Papariello Ambiances magnétiques CD 202 (www.coactuelle.com) Percussionist Michel-F. Côté is one musician who invests himself in projects of every shape and size, be they theatre and dance, free acoustic and electronic improvisation, or carefully conceived orchestral works. This last area of interest defines the newest recording of his ensemble Mecha Fixes Clock. This outfit of 11 players includes seven strings, three winds and as many musicians on electronics, including the leader. Each of the seven tracks of this rather brief side evokes a kind of ethereal soundscape. On his kit, Côté beats out an essentially binary pulse indicative of his musical background in alternative rock. Given this the listener should not expect any free jazz outbreaks, nor swirling collective improvisations, but a very tight group discipline more characteristic of contemporary chamber music. At 42 minutes, this disc might seem short at first glance, but its length is in fact adequate, as the music operates within more restricted dynamic confines. TRANSLATION: ARIADNE LIH maïkotron unit: Ex-Voto Rant 140 (www.jazzfromrant.com) The maïkotron Unit, winners of the François- Marcaurelle prize at this year s Off Festival de jazz, is one of the most durable yet least wellknown improvisational ensembles in Quebec. Founded in the 1980s, the trio issued its seventh release last spring and first CD, all previous ones issued in LP format. The maïkotron is a somewhat unwieldy sounding brass instrument invented by the group s reedman Michel Côté: comprised of a series of valves and a saxophone mouthpiece, it produces low buzzing tones in the bass clarinet or contrabass clarinet range (both of which Côté plays). Both he and his brother Pierre (on cello and bass) are stalwarts of the Quebec City jazz scene; drummer Michel Lambert, also a native of the province s capital, spent many years in Toronto before settling in Montreal. The main source of inspiration here are 12 ex-voto style paintings created by the drummer, illustrated inside the sleeve. All told, there are 20 pieces contained in this 58-minute side, some atmospheric in nature, others more rhythmic, particularly those featuring the soprano sax. Oddly enough, the maïkotron, played by the two Michels, is not heard very prominently. Because there are so many short pieces (only one exceeds 5 minutes), the musicians seem more content to establish moods than trying to develop them. Having listened to the recording prior to attending their recent live performance, I had hoped that this team would stretch out more, which they did, but it still fell short in getting the music to lift. TRANS.: DAYNA LAMOTHE 39

40 JAZZ REVIEWS News from Europe Dutch strings by MARK CHODAN ΩDanish combosω by MARC CHÉNARD Once known as a haven for expatriate American boppers in the golden days of the 1960s, the Danish capital Copenhagen has long since turned the page, thanks to a younger generation of native talents trained at the city s Rhythmic Conservatory. Here are but two examples of contemporary jazz emerging from this still very dynamic music capital. Jacob Anderskov Accident : Full Circle Ilk 178CD (www.ilkmusic.com) Caught last summer at its jazz festival, the ensemble of Copenhagen s pianist composer Jacob Anderskov (Accident) was one of this writer s personal highlights. Five months previous to the show of his seven-piece band, it recorded the following album at another of the city s venues, minus one saxophone player. What s more the leader is heard here on an electric keyboard (the Wurlitzer) rather than standard acoustic grand. Fueled by the clatterings of American drummer Tom Rainey, the group interprets somewhat slow unfolding orchestral passages that create considerable tension, especially when the soloists break loose, most notably the no-holds-barred outpourings of alto saxophonist Laura Toxværd, closely followed by the leader s keyboard excursions. In fact, these two players largely dominate this session, though the drummer is given a generous solo spot in the closing number Pyschotonalities. Five cuts ranging from eight to eleven minutes grace this medium-length side, seconds shy of the 50-minute mark. Hybrid 10tet : On the Move BBBCD14 (www.michielbraam.com) The Hybrid 10tet is an ensemble led by Dutch pianist Michiel Braam. The hybrid aspect comes from the pairing of musicians from different musical domains: jazz-based improvisation (horns), rock (rhythm section) and European concert hall music (strings) plus, on piano, Braam himself, who penned all pieces (9 in total). The line between written and instant composition is not clearly delineated: it is always nice to hear music in the jazz/improv domain where the listener can ponder the written/instant composition question, safely conclude who cares? and just focus on enjoying the results. Braam is a tremendously talented pianist, as anyone who has seen him live can attest (some may have heard him in Montreal last October with his trio). This recording is evidence that his compositional skills are as interesting and quirky as his playing. As eccentric as some moments on this disc may seem, the music fortunately steers clear of any over-indulgence in the corny humour that the Dutch Bimhuis musicians are known for. At times, the three different components of the ensemble work together surprisingly well, despite obvious dynamic differences between the instruments (strings versus rock-ish rhythm section). What s more, the leader propels his musicians, who in turn follow him to fertile sonic grounds. His compositions also have drive, and there s everything from tango to mid-70s Miles Davis-inspired grooves, but always filtered through Braam s personal and unpredictable signature sound. Overall, On the Move is a jarringly diverse yet cohesive set of compositions that mark a fantastic musical ride on which Braam set out to take us. Ig Henneman Sextet : Cut a Caper Wig 19 (www.stichtingwig.com) Violist Ig Henneman is somewhat of an unsung hero on the Dutch jazz/improv scene. Cut a Caper is her latest release after a recent 5 CD and 1 DVD box set Collected, documenting her recorded output since 1985 and celebrating her 65th birthday. At the core of this international ensemble are the members of her Queen Mab trio (with Canadians Lori Freedman, clarinets, and Marilyn Lerner, piano), with Dutch stalwarts bassist Wilbert de Joode, reedman Ab Baars, and German trumpeter Axel Dörner in tow. The drummerless format plants this session clearly in chamber jazz territory, with equal parts of jazz and contemporary music. This is not music that draws the listener in, but rather demands some effort in penetrating its icy shell. This may be due, at least to some degree, to the arrangements where instruments play in a similar range for long periods of time, giving it a lightness that one would not expect from a sextet, but at the same time making it sound rather austere, at times downright humourless (very unlike the Dutch, known for their whimsical nature). Other sections move at an extremely slow pace, again requiring both intense concentration and considerable patience. However, such misgivings can be set aside based on the strength of the musicianship involved. Repeated and concentrated listenings actually reveal fragile compositions of great complexity, and the musicians navigate these with all of the skill for which they are known. But given the overall intensity of this session, the net impact is greater on the listener, ultimately less wearing than a longer duration would have been. Indeed, there s much more to contemporary jazz than warmed over post-bop formulas, and here s some proof positive. Definitely jazz for the new century. Markus Pesonen : Hum Unit Records UTR 4297 (www.unitrecords.com) From the septet of the previous disc, we move on to a Hendectet, an eleven-piece group headed by a young Finnish guitarist, Markus Pesonen. His debut release, issued last summer on the Swiss label Unit Records, is, to say the least, an ambitious first move, with a program of six originals and two covers, the latter being Mingus s dedicatory evergreen to Lester Young ( Goodbye Porkpie Hat ) and an unlikely closer, the Beatles A Day in the Life, complete with its dreamy lyrics and delirious sonic outburst, reminiscent of the original. Like many emerging artists, Pesonen wants to show us all he can do as a composer-arranger, maybe a little too much: from the rock-ish band energy of the opener CO2, the music goes from the ethereal to a quasi-free-jazz power play in Hullun Paperit, then on to some full-throttle jazz swinging in Sugar Rush and so on, lest we forget the Mingus-derived collective improvisation of his tune, or his take on the Fab Four s psychedelic pop hit. Apart from the listing of personnel, there are no band pictures or liner notes in this disc (giving us a bit of background wouldn t have hurt, but then again there are artist Websites to cover that now.) Also worth noting in this production is the ecologically friendly cardboard sleeve, including a pretty ingenious inset to slot in the disc. 40

41 Normand Guilbeault at Dièse Onze, 2 nd and 3 rd and at Upstairs on the 22 nd JAZZ+ All concerts subject to change without prior notice. Unless otherwise stated, all phone numbers listed are within the 514 area code. All times listed are PM. Thur. 1» Marianne Trudel & friends. [Artist of the month at the Resto-bar Dièse Onze ] 8:30 (Return performances on Thurs. 8 and 15.) Fri. 2» Oliver Jones and Ranee Lee. (Opening act for Diane Warwick.) Théâtre Maisonneuve, Place des Arts. 8:00» Jazzer Noël, pianist James Gelfand plays Christmas favourites. Chapelle historique du Bon-Pasteur. 8:30 [ ] (Return performances on Wed. 21 at l Espace Deschamps.) Fri. 2, Sat. 3» The Châteauguay Tenors (Cameron Wallis and Al McLean) with spécial from New York, baritone saxophonist Gary Smulyan. Upstairs Jazz Bar. (Two shows per night at 7:00 and 10:00. Reservations: )» Ensemble Normand Guilbeault, Hommage à Mingus. Resto-bar le dièse onze. 8:30 Sat. 3, Sun. 4» Plans d immanence (Free improvised music performed on baroque instruments.) Chapelle historique du Bon-Pasteur. 8:00 Dim. 4» Double bill: Rainer Wiens (solo guitar) followed by bassist Nicolas Caloia and his group Ring. Casa del Popolo. 9:00 [ ] Tue. 6» Trumpeter Kevin Dean presents The Next Generation. Upstairs Jazz Bar. 8:30» Les mardis Spaghetti, weekly improvised music series at the Cagibi. 9:00 [Schedule online at: myspace.com/mardispaghetti Wed. 7» Mercerdismusics, weekly improvised music series at the Casa Obscura. 9:00 Schedule on line at: Thur. 8» Thomas Carbou s Hekate trio (with Eric Hove, alto sax and Jim Doxas, drs.) Upstairs. 8:30 Fri. 9, Sat. 10» François Bourassa Quartet. Upstairs. 8:30» Samuel Blais (alto sax) and Friends.» Resto-bar le dièse onze. 8:30» From Berlin, tubist Robin Heyward and guests. L envers. 9:00 [Info and schedule online at: lenvers185.blogspot.com Wed. 14» Pianist Jérome Beaulieu and his trio. Upstairs. 8:30» Record launch and performance by the Toronto vocalist Lara Solnick. Resto-bar le dièse onze. 9:00 Thur. 15» Vocalist Emma Frank and her band. Upstairs. 8:30 Fri. 16» Two solos : Ottawa saxophonist Lindsey Wellman and Montreal violinist Malcolm Goldstein. 9:00 Fri. 16, Sat. 17» Lorraine Desmarais trio and special guest, alto saxophonist Jean-Pierre Zanella, Christmas music concert. Upstairs. 8:30» Tenor saxophonist Yannick Rieu and his trio. Restobar le dièse onze. 8:30 Sat. 17» Ottawa saxophonist Bernard Stépien and his perform perform: A Very Ayler Christmas. L envers. (Information on this project online at: site.uottawa.ca/~bernard/ayler_christmas.html Tue. 20» Lori and the Blue Mangoes. (With Lori Freedman, clarinets., Nicolas Caloia, bass, Bernard Falaise, guitar and Michel-F. Côté, drums.) Casa del Popolo. 9:00 (Improvised music.) Wed. 21» Jazzer Noël. Pianist James Gelfand plays Christmas favourites. Place Deschamps. Two set at 5:00 and 10: de Maisonneuve Ouest Thur. 22» Bassist Normand Guilbeault and his trio (with Normand Deveault, piano, and Claude Lavergne, drums.) Upstairs. 8:30 Thur. 29» Vocalist Dessy di Lauro and her musicians. Upstairs Jazz Bar. 8:30 Sat 31» Jazzin in the New Year with vocalist Dawn Tyler Watson. Upstairs. 8:30 (Reservations: ) JAZZ CALENDAR LOOKING AHEAD: JANUARY 2012 Sat. 7» Trombonist Muhmmad al Khabbyr. Upstairs. 8:30 Mon. 9» Nozen (The Damian Nisenson quartet). Casa del Popolo. 9:00 Thur 12» Pierre Labbé and Sacré Tympan-Vertiges. Maison de la culture Frontenac. 8:00 [ ] (Workshop and performance directed by composer and saxophonist Pierre Labbé. With Frank Lozano, saxophones, François Bourassa, piano, Clinton Ryder, bass, Pierre Tanguay, drums and Steve Regeale, guitar.) Fri. 13» Vocalist Jeri Brown and her trio. Upstairs. 8:30 Sam. 14» Guitarist Richard Ring and his musicians. Tribute to trumpeter Tom Harrell. Upstairs. 8:30 Thur. 19» Pianist Joshua Rager performs music from his new record Kanansakis. Upstairs. 8:30 Sun. 22» Guitarist Carlo Jimenez and his band. Power Jazz Series, Segal Centre. 8: :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: AT THE HEART OF JAZZ :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: FRANÇOIS BOURASSA IDIOSYNCRASIE (FND111) ALEXANDRE CÔTÉ TRANSITIONS (FND114) DONATO-BOURASSA-LOZANO-TANGUAY AUTOUR DE BILL EVANS (FND112) ALAIN BÉDARD AUGUSTE QUARTET HOMOS PUGNAX (FND115) SAMUEL BLAIS R E C O R D S.COM DESTINS (FND113) JOSH RAGER KANANASKIS (FND116) 41

42 REVIEWS» cds dvds books A Napoli Marc Hervieux, tenor; Louise-Andrée Baril, piano & orchestral arranger ATMA Classique ACD One of the most versatile tenors in Canada, Marc Hervieux is at home in a variety of genres, from opera and oratorio to the pop field, including success in the blockbuster rock opera Starmania. For ATMA he has recorded an opera aria disc with Yannick Nézet-Séguin and a Christmas album. Here is his third, a collection of fifteen beloved Neapolitan songs, supported by ten Québecois musicians led by Louise-Andrée Baril. Given his robust tenor with a decidedly Italianate timbre that occasionally recalls a young Domingo, these Neapolitan songs are tailor-made for him. No, it s not note-perfect the passaggio and the top can sound a little uncomfortable, and he sometimes croons, but he sings everything with passion and gusto, two welcome qualities in this repertoire. Baril is responsible for the orchestral arrangements occasionally one is in danger of an overdose of sweetness and sentimentality, but that goes with the territory! Incidentally, Hervieux dedicates the disc to music philanthropist Jacqueline Desmarais, who has been a champion of the tenor from the beginning of his career. Fans of Hervieux will find this disc most entertaining and an excellent choice as a Christmas stocking stuffer. Joseph K. So Bach: Cantatas BWV 54 & 170/Suite in A minor BWV 1067/Double Concerto BWV 1060 Daniel Taylor, countertenor; Tafelmusik/Jeanne Lamon Analekta AN (68 min 46 s) Analekta has presented us with two of Bach s most beautiful cantatas for alto. With Pleasant rest BWV 170 for oboe d amore, organ obbligato and strings, we immediately fall into a state of grace, and remain there until the end of this magnificent recording. What lovely sounds, lights and shadow that caress the soul, tears and joy inspired by a heavenly moment! Daniel Taylor sings with great artistry and demonstrates perfect mastery of his pure voice. The countertenor seems to surrender completely to the music. The same attention is accorded to BWV 54, Just resist sin. More staccato in the strings could have better highlighted the text; however, we are swept up by the rich timbre 42 and the mind surrenders. Next, BWV 1067 is performed in a version for violin and strings. Such elegance in the rondeau, tenderness in the sarabande! Jeanne Lamon conducts her ensemble (one instrument per part) with such skill that the version for flute is forgotten. The BWV 1060 is also absolutely superb. By contrast, the sorry look of the record sleeve does not do justice to the quality of the performers it represents. RENÉ F. AUCLAIR Bartok: Violin Concerto No. 1/ Violin Concerto No. 2/Viola Concerto James Ehnes, violin and viola; BBC Philharmonic/ Gianandrea Noseda Chandos CHAN (77 min 45 s) Canadian violinist James Ehnes has moved very rapidly to the forefront of the ranks of the world s great violinists. He is at home in a wide repertoire and plays with both maturity and virtuosity. This Bartok album is surely one of his best so far as he demonstrates prowess on both violin and viola. Bartok s Violin Concerto No. 2 is the Bartok Violin Concerto and is well established as a Twentieth Century masterpiece. The Violin Concerto No. 1, an early work, is far less well known. The Violin Concerto No. 2 is a far more varied and original piece, but the earlier concerto has charms of its own and deserves more performances. Ehnes plays both of them on the 1715 Marsick Stradivarius, with a remarkably rich tone and complete understanding of the idioms. Noseda and his orchestra are wonderful and the sound quality on this disc is excellent. The Viola Concerto was left incomplete when the composer died, but Tibor Serly produced a performing version from the sketches, which is the version Ehnes used. It is a beautiful piece, and Ehnes gives a fine performance. PAUL E. ROBINSON Brahms on Brass: Waltzes Op. 39/Ballade in D minor Op. 10 No.1/Eleven Chorale Preludes Op. 122 Canadian Brass Opening Day ODR 7415 (50 min 25 s) The Canadian Brass has now become one of the oldest ensembles of its kind. After 40 years it is not surprising that there have been changes in personnel tubist Chuck Daellenbach is now the only original member left in the group but the same high standards and astonishing versatility remain intact. But Brahms on Brass? And an entire album? The Canadian Brass has always been innovative in its choice of repertoire, but this is a real stretch. The composer s contrapuntal proclivities and preference for darker colours work against the idea of brass transcription. However, I was pleasantly surprised by the Waltzes Op. 39, originally composed for piano duet, as arranged by Chris Coletti and Brandon Ridenour, CB s two trumpeters. This is some of Brahms lighter music, and CB plays them with a wonderful sense of style, fine trumpet playing and a great feeling for rhythm and phrasing. The other major work is the Op. 122 Chorale Preludes arranged by Ralph Sauer. This is heavy duty late Brahms and even in its original version for organ it hardly makes for easy listening. In the brass arrangement, the trumpet writing sounds awkward and the problem of sustaining tone in slow-moving music a non-existent issue on the organ becomes a major liability. PAUL E. ROBINSON Bruckner: Symphony No. 4 Romantic Orchestre Métropolitain/Yannick Nézet-Séguin ATMA Classique ACD (69 min 47 s) Nézet-Séguin is slowly working his way through recording all nine Bruckner symphonies and this is the latest installment. Once again one is astonished by the quality of playing and conducting. The Orchestre Métropolitain sounds just as good as most of the famous orchestras which have recorded the work. Most of the credit must go to the players, but Nézet-Séguin sets the standard and imposes a vision that is both exacting and emotional. The conductor uses the 1936 Haas edition, which is essentially the standard version. Nézet-Séguin adds nothing in the way of interpretative surprises. This is a mature reading that pays careful regard to tempo, dynamics and balance, while building the massive climaxes with care and nobility. Having recently heard Nagano and the OSM perform this work in the new Maison symphonique, comparisons come easily to mind. Both orchestras play very well indeed and Nagano is an even more experienced Brucknerian than Nézet-Séguin. Yet I would give the edge to Nézet-Séguin for the greater joy and exuberance of his interpretation. The finesounding ATMA recording was made in the Saint-Ferdinand Church. PAUL E. ROBINSON Bruckner: Symphony No. 7 Bayerisches Staatsorchester/Kent Nagano Sony (64 min 17 s) Kent Nagano recently conducted the OSM in Bruckner s Symphony No. 4 at their new hall in

43 Montreal. That performance and this one reflect a consistent view of how Bruckner should be played and conducted. In both cases the orchestra plays very well and balances are very carefully calibrated. But in each case, while there is much to admire and enjoy, it strikes me as almost beside the point. Where is the power of those great Brucknerian climaxes? Where is the inner life of the music? Nagano seems almost apologetic about the dynamic extremes in the music. For him, it is more important that we be able to hear all the instruments, all the time, even when some are clearly more important in what they have to say than others. Nagano is particularly careful with the trumpets. They are rarely heard in his Bruckner performances even when they are playing the melody or animating the rhythm in the big climaxes. The sound on this recording is excellent, and the live performance was made in the Cathedral in Ghent, Belgium, September 23, But there are other conductors who get more out of the music. PAUL E. ROBINSON Colinda Noëls de Provence Strada Analekta, AN (40 min 49 s) This CD hot off the grill from Analekta is just in time for Christmas. Strada continues to take us through the greatest musical traditions across Europe in its most recent disc featuring Christmas carols of Provence that are based on the Noëls de Notre-Dame des Doms, a manuscript from the 17 th century preserved in the Avignon Cathedral. With period instruments and accompanied by virtuoso Miquèu Montanaro, the Strada singers and the sound of their polyphonic music transport the listeners to ancient times of winter solstice celebrations. Far from popular modern Christmas discs, this recording of clear voices and of joyful music is great to accompany festive preparations and parties during the winter season. FRANCINE BÉLANGER Convivencia La Mandragore Fidelio Musique FACD031 (55 min 2 s) Convivencia can be translated to conviviality or cohabitation. Specializing in medieval music, Montreal s La Mandragora attempts to relive those early days of Spain where different cultures met and lived together in peace. In the Andalusia region, Jews, Muslims, and - Christians cohabitated between 929 and It is known as the Caliphate of Córdoba. The music presented here is a tribute to this heyday. Many pieces are adaptations of Sephardic, Arabic and even French texts, mostly from the 12 th and 13 th centuries. Some tracks on the disc are new compositions by musicians of the ensemble, inspired by period all are excellent. The anachronistic use of various instruments that did not exist during this period is surprising! So much for musical exegesis; however, the overall result is quite pleasant. It s an exotic feast for the ears and heart. Voices, instruments and even the drums are very well rendered by a high quality sound recording. What a joy to hear these sounds that take us away! To the past, to a dream world, to a mythical Andalusia... RENÉ FRANÇOIS AUCLAIR Franck, Debussy, Poulenc: Sonates Anne Gastinel, cello, Claire Désert, piano Naïve V 5259 (61 min) Anne Gastinel celebrates her twenty years of recording with a magnificent CD dedicated to French chamber music, with her favourite accompanist, Claire Désert. They first perform the transposition for cello approved by the author of the Sonata for violin and piano by César Franck (Belgian by birth) as if in a dream, taking the necessary breath to allow the sound of Testore de Gastinel to blossom. In the end, they manage to make you forget the original, no small feat indeed! They also succeed in finding the delicate balance between retained lyricism and sharp humour in Debussy s Sonata (which the composer wanted to call Pierrot vexed by the moon ), a concise masterpiece which seems too brief, in particular the central movement, Serenade. The Sonata by Poulenc is generally not held in great esteem. Both interpreters still manage to give the impression they take great pleasure playing it. The listener can t help but be won over by the elegance in executing the composer s pirouettes. Great sound recorded in stereo. ALEXANDRE LAZARIDÈS From Here on Out: Muhly, Greenwood, Perry Kitchener-Waterloo Symphony/Edwin Outwater Analekta AN (68 min 34 s) Three young composers are represented on this disc by the Kitchener- Waterloo Symphony Orchestra, two of which are issued by the universe of alternative rock Jonny Greenwood (Radiohead) and Richard Reed Parry (Arcade Fire). Curiously, the most consonant and accessible work is written by the only composer with classical training, Nico Muhly, REVIEWS CDs based in New York. His piece From here on out stems from a type of post-impressionist American modernism that is very enjoyable. The textures are always kaleidoscopic, featuring luminous counterpoint of the various orchestral instruments in a defined manner. Oboe, flute, violin, keyboard percussion, everything melds together evocatively. There are very few sound blocs and there are never sections used as a mass. Everything is gossamer and scintillating. At times, this music recalls that of Russian Valentin Silvestrov s. It s very pretty. At the other end of the spectrum, Jonny Greenwood offers a heartfelt homage to Penderecki of the 1960s and 70s with piercing quarter tones and uncompromising dissonances in Popcorn Superhet Receiver. Then, Richard Reed Parry continues with an intriguing work where musicians, connected to stethoscopes, follow their bodies rhythms. For Heart, Breath and Orchestra, despite the random character, is enjoyable and even fun. FRÉDÉRIC CARDIN Great Piano Trios: Mozart, Beethoven, Schubert, Mendelssohn, Shostakovitch Gryphon Trio Analekta AN (9CD) Canada s Gryphon Trio has recorded a wide range of chamber music for Analekta. The recordings represent the evolution of the piano trio from the classical period to pre-romanticism. Why then did they abandon the Haydn trios 31 st Season piano Dorothy Fieldman Fraiberg clarinet Simon Aldrich violin Alexander Lozowski viola Pierre Tourville cello Sheila Hannigan Works by Rabl, Mozart and Piazzolla Thursday, February 9, 8 pm Redpath Hall, McGill University Admission free 43

44 REVIEWS CDs they had already recorded? We would have liked them included in this box set as much as those of Shostakovitch, who, despite his captivating music, disturbs the unity. This choice is difficult to explain But it doesn t detract from the performers. The box set is a tribute to the group s excellence. From Mozart, to the almost complete Beethoven (notably well played), to Schubert and Mendelssohn, the musical quality is always present. Jamie Parker s piano playing is superb and always inspired. The violin and cello play without too much vibrato and discretely support the pianist, never showing excessive aggressiveness. Thus, the ensemble s sound is pleasant and warm. The soloists have neither the harshness nor the feverish passion of Trio Borodin (Chandos). But failing to be contrasted to the extreme as are other ensembles, the Gryphon Trio makes us experience exquisite moments, perfectly fulfilling the heart and mind. RENÉ F. AUCLAIR Handel: Streams of Pleasure Karina Gauvin, soprano; Marie-Nicole Lemieux, contralto; Il Complesso barocco/alan Curtis Naïve V5261 This new Handel recording with Karina Gauvin and Marie-Nicole Lemieux, recorded earlier this year in Italy, is titled Streams of Pleasure how aptly named! In the vocal cords of these two first ladies of Canadian classical music, the pleasure is entirely the listener s. The disc contains a generous selection of fifteen arias and duets from nine Handel oratorios, all composed between 1744 and 1750, the composer s last creative phase. Some are well known (Judas Maccabaeus, Hercules, Theodora), the last two occasionally staged as operas; others (Susanna, Joseph and his Brethren) are relatively unfamiliar. Gauvin has an exquisitely smooth, soft-grained sound; Lemieux s contralto is opulent, resonant and powerful. Their voices blend perfectly in the several duets it s hard to imagine To thee, thou glorious son of worth and Streams of Pleasure ever flowing, both from Theodora, better sung. Their English diction is exemplary if only all singers enunciated so clearly! Alan Curtis has worked extensively with the two Canadians, and his incisive and idiomatic conducting is terrific. It s nicely packaged with an informative essay, singer bios, texts in English and French, and best of all, four candid black and white photos of the two women taken at the recording sessions. The sonic quality is first rate. To my ears, this disc is a serious contender for disc of the year in the vocal/oratorio category. JOSEPH K. SO Human Misery-Human Love: Beethoven: Symphony No. 9 in D minor Op. 125 Choral Erin Wall, soprano; Mihoko Fujimura, mezzo-soprano; Simon O Neill, tenor; Mikhail Petrenko, bass; OSM Chorus and Tafelmusik Chamber Choir/Ivars Taurins, Guest Choir Conductor; Orchestre symphonique de Montréal/Kent Nagano Analekta AN This past September the OSM celebrated the opening of its new hall La Maison symphonique with performances of Beethoven s Ninth. Ana lekta took the opportunity to make a recording as part of its ongoing project to record all the Beethoven symphonies with the OSM and Nagano. But Analekta is not content to let the music speak for itself. Each of its Beethoven releases has a title and a philosophical idea. In the case of the Ninth, the title is Human Misery- Human Love, but it is anybody s guess what that means. Nagano s explanation in the booklet is more obscure than the title. Yann Martel s words are even more baffling. But few conductors achieve the level of clarity that is routine in every Nagano performance, and his performance of the Ninth is remarkable in this respect. Every detail has been polished and balanced and the OSM plays superbly. Nagano is guided by period performance practice in matters of tempo, phrasing, vibrato and balance, and that means his performance of the Ninth is modern as compared to fuddy-duddies like Toscanini, Walter, Klemperer or Karajan. Unfortunately, it also means that we have a Ninth without real Beethovenian fire. Nagano s Ninth seems more like a blueprint than a performance. The soloists seem to inhabit another performance altogether. Their sounds and phrasing are far more traditional than what Nagano obviously has in mind. The chorus, however, is on a very tight period performance leash and seems underpowered. A triumph for the OSM and Nagano if you happen to like his approach. If not, try Blomstedt among recent recordings (Profil Hänssler CD PH11009). PAUL E. ROBINSON Jeffrey Ryan: Fugitive Colours Gryphon Trio; Vancouver Symphony Orchestra/ Bramwell Tovey Naxos (69 min 13 s) With this release, Naxos inaugurates its new Canadian Classics series, Canada s answer to the popular and varied American Classics. The arrival of this series is very promising for the diffusion of Canadian music, especially considering the immense scope of Naxos distribution as well as its online music bank. So far, only one release is available, but we hope that this collection will follow in the footsteps of its southern sibling, promoting both contemporary music and older Canadian works. For now, we can appreciate the accessible musical language and iridescent instrumental colour of three pieces by Vancouver composer Jeffrey Ryan. The symphonic poem The Linearity of Light and the symphony Fugitive Colours are both interesting and captivating works. The triple concerto Equilateral is one of Ryan s strangest pieces, simultaneously evoking Vivier and Shostakovitch! Nevertheless, there is a compelling dynamic between the three soloists and the orchestra. The performers are excellent and bring rigour and passion to these works which were created in close collaboration with the composer. ÉRIC CHAMPAGNE Johann Christian Bach: Missa da Requiem Lenneke Ruiten, soprano; Ruth Sandhoff, alto; Colin Balzer, tenor; Thomas E. Bauer, bass; RIAS Kammerchor; Akademie für Alte Musik Berlin/Hans-Christoph Rademann Harmonia Mundi HMC (74 min 55 s) What a great discovery! This piece must be one of the most beautiful works by the youngest Bach. Although relatively conventional in its musical structure, this luminous and superbly balanced Requiem is remarkable for its lyrical Italianate expressivity. Bach composed this Missa da Requiem in Milan, and had little regard for the traditional form, composing only the Introitus, Kyrie and Sequenz (in twelve sections). The soloists benefit from a frothy and exciting score offering many opportunities to shine, which they do not fail to do! As well, this recording features a Miserere in B-flat major by Hans-Christoph Rademann, also composed in Milan. This work foreshadows the compositional style of Johann Christian Bach with its emerging symphonic style, clarity of expression and powerfully suggested affects. The performance of the Rademann is supple, convincing and radiant. Magnificent, from all points of view. FRÉDÉRIC CARDIN Mozart: Dissonances Quatuor Ebène Virgin Classics (71 min 5 s) Ebène s interest in musical crossover has without a doubt solidified their public reputation. The young French quartet affirms that in the Mozartian style, the dissonance is a sign of maturity, and they wish to illustrate this principle with their recording of two of the quartets dedicated to Haydn, one in D minor and one in C major (the Dissonance ), along with the Divertimento KV 138. The execution is calculated and precise, and 44

45 REVIEWS CDs the dynamic markings are scrupulously rendered, though in tempi generally slower than usual. But it is a well-known fact that attention to detail, laudable though it may be, does not ensure a good rendering of a piece s spirit. This is perhaps the case here: the emphasis on detail bars spontaneity, and the choice to emphasize effects in the work of a composer beloved for the contrary qualities is curious, at least. The quartet in D minor, a heart-rending cry, suffers more from this tendency than the Dissonance. Close miking produces at times an almost orchestral sound quality, with a huge cello. Let us return to the old Italians: let fluid, natural, moving song be again the order of the day! ALEXANDRE LAZARIDÈS Musica Vaticana: Musique Polychorale Studio de musique ancienne de Montréal/ Christopher Jackson ATMA ACD (57 min 5 s) The works presented were almost all composed by Italian composers who were at one time directors of the Cappella Giulia in Rome between 1600 and The other well-known chapel in the eternal city was, of course, the Sistina. We are not in Rome for this recording, but happy in the church of Saint-Augustin in Mirabel, whose warm, hushed acoustics have been well captured. In this room, the rich voices and gentle expression of the ensemble lift the listener to heights of admiration and contemplation. The vocal parts call, respond, and circle each other in perpetual balance. SMAM s sixteen voices are distinct enough that we can easily visualize each part and appreciate the counterpoint. The soloists are grouped in three or four distinct choirs, accompanied sometimes by a basso continuo (cello, harp, and organ). Two Benevoli motets for three and four soprano soloists are a fine contrast. They are brilliantly executed with joyful ornaments and immense virtuosity. Of especial note is the fugue which closes Pitoni s Dixit Dominus for sixteen voices in four choirs: bravissimi! RENÉ F. AUCLAIR Schnittke: Quartets 1-4 Molinari Quartet ATMA ACD22634 (2 CD; 103 min 20 s) While the Molinari Quartet might not reach the dramatic heights of the Kronos Quartet nor attain the surgical precision of the Arditti String Quartet, they are more than competitive when it comes to timbre (and the competition is stiff indeed!). The varied instrumental colours are so perfectly fused that listening to the quartet is like listening to one soloist. This imaginary soloist isn t immune to the occasional mistake or affectation, but we barely even hear such passing errors. The listener doesn t linger on imperfections, but rather hangs on the shimmering tremolos of the first quartet, the melancholy of the second, the enveloping unisons of the third. If this imposing repertoire interests you, dive in post-haste. RENÉ BRICAULT Schumann: Piano Sonata No. 2 in G minor Op. 22/Fantasie in C major Op. 17 Anton Kuerti, piano DOREMI DDR-6608 Over the years, Kuerti has recorded much of Robert Schumann s piano music, including the chamber music and the Piano Concerto (CBC SMCD-5218). In all of these recordings, Kuerti has shown great empathy with the bipolar emotions expressed in the music. That is the case again here too but coupled with a remarkable command of subtleties of dynamics and tone that are so much a part of Schumann s contribution to piano literature. The performances are enhanced immeasurably by a clear, rich piano sound. No doubt Kuerti s own attention to the voicing of his instrument has something to do with it, but producers Jacob Harnoy and Clive Allen must be entitled to some of the credit. We can fairly assume that the acoustics of Willowdale United Church in Toronto made a contribution too. An interesting feature of this recording is the inclusion of the original Finale of Op. 22. Kuerti has chosen to add it as what he calls a second scherzo. I agree with him that the ending is too abrupt for the movement to be satisfying as a finale. The second finale has much greater cumulative power. PAUL E. ROBINSON Honens Laureate Series 1) Bach: Goldberg Variations BWV 988 Minsoo Sohn, piano 2) Debussy/Holliger/Honegger/Ravel Gilles Vonsattel, piano 3) Hindemith/Schoenberg/Stravinsky/Szymanowski Evgeny Starodubtsev, piano 4) Schubert: Sonata in A major D.664/Drei Klavierstücke D.946/Fantasy in C major D.760/ Allegretto in C minor D.915 Georgy Tchaidze, piano Given the space constraints and the vastly different repertoires, one is loathe to compare let alone rank the discs, but suffice it to say each pianist brings his uniquely personal gift to the performance. Top on this reviewer s personal list is Minsoo Sohn s Goldberg Variations. After a stunning debut disc of Liszt transcriptions, Sohn goes from strength to strength with a recording that stands up to comparisons with the best yes, even Glenn Gould s good standard 1955 and 1981 recordings. Striking is Sohn s felicitous mix of singing tone, innate nobility of phrasing, and above all his poetic imagination. Having played this monumental work in live performances, it s good that he has now committed it to disc. Another standout is the all-french program of Gilles Vonsattel who shows an uncommon affinity for Debussy and Ravel, played here with unfailingly ravishing tone, a wide spectrum of colours, and an altogether magical touch. The recorded sound is properly atmospheric if a touch too distant. As he explains in the liner notes, 2009 First Laureate Georgy Tchaidze is particularly drawn to Schubert and it shows. He does full justice to the joyous and elegant opening movement of the A major Sonata, his brisk tempo making the very familiar work sound fresh. To my ears, Tchaidze s playing is most convincing in the more lyrical and introspective pieces, while the more dramatic and darker moments in pieces like the Fantasy in C major tend to be a touch overwrought. Starodubtsev s modern program is perhaps the least familiar, but he plays it with great conviction and lyricism, brilliantly underscoring the kinship of Szymanowski and Hindemith with Debussy. It s to his credit that even the Schoenberg sounds totally accessible to indifferent ears. The production values are exemplary great sound, informative liner notes (particularly Eric Friesen s Q&A with each pianist), and beautiful packaging if only there were a photo or two of the recording sessions. These four pianists have already gained their rightful places among the most promising artists of today, and these releases are a testament to their ever developing artistry. JOSEPH K. SO TRANSLATION: MIRIAM CLOUTIER, NATALIE GAUTHIER, RONA NADLER, KARINE POZNANSKI 45

46 variations ON A THEME Looking for a change from your go-to classics? Take a cue from the LSM team as we recommend listening alternatives to the usual masterworks. THE MASTERWORK: Hector Berlioz s Symphonie fantastique, Op. 40 Eighteen-thirty saw a great upheaval with France s July Revolution. That same year, French composer Hector Berlioz ( ) won the Prix de Rome, a prestigious prize that financed an artist s studies for five years. He also completed his Symphonie fantastique. Inspired by literary works of Thomas de Quincey (Confessions of an Opium Eater) and Victor Hugo (Le Dernier Jour d un Condamné), this programmatic work uses many compositional devices to tell Berlioz s own story of hopeless love through music. His use of an idée fixe, a technique used to transform themes to tell a story, express a mood or idea, effectively unites the five-movement work. Here, the idée fixe represents the lover of a composer. In a drug-induced state, the composer dreams that he has killed the object of his affection to then be decapitated at the end of the fourth movement. Drama ensues and dreams turn to nightmares in the fifth movement, the Dream of a Witches Sabbath. Deep church bells and the Gregorian chant Dies irae (Day of Wrath) add to an increasing sense of dread. A masterful orchestrator, Berlioz s command of instrumental colours and textures paints scenes of joy, wistfulness, solitude, and frenzy. His Symphonie fantastique is a feast for the ears and imagination. LAURA BATES Alexandre Lazaridès ESSENTIAL SYMPHONIE FANTASTIQUE Berlioz: Symphonie fantastique op. 14 New York Philharmonic/Leonard Bernstein Sony SMK (69 min 13 s) The Fantastique has been recorded often, and by big names at that. Leonard Bernstein s recording of May 27, 1963 does not demonstrate a talent for colours like the European conductors who were part of a certain tradition; however, it has movement, passion, life, and a March to the Scaffold that will make you shiver. He ignites his orchestra, his direction then at its peak, and convinces us every time. Furthermore, the sound recording is a remarkable. FRÉDÉRIC CARDIN RECOMMENDS... Ernest Chausson ( ) Symphony No. 1 Composed between Similarities: a French symphony French, of course, but with an expansive romantic character that is fiery at times. A rich and sumptuous orchestration coloured with lyricism. A child of Berlioz no doubt. Differences: the symphony is written in only three movements and does not use the scheme of the idée fixe, so fundamental in the Fantastique. The chromatic harmony also approaches the German symphonic style. ESSENTIAL LISTENING: French Symphonies Orchestre philharmonique de Radio France/Marek Janowski Virgin Classics (2CD, 1998) ÉRIC CHAMPAGNE RECOMMENDS Sergei Rachmaninoff ( ) Symphonic Dances, Op. 45 Composed in 1943 Similarities: Berlioz quotes the Dies irae theme in the Dream of a Witches Sabbath, the infernal bacchanal that ends his Symphonie fantastique. Rachmaninoff quotes the Dies irae theme in several works including his Symphonic Dances, where it appears in a finale that is close to the frenzied romanticism of Berlioz. Differences: While Berlioz s Dies irae assumes gloomy and whimsical colours, the Rachmaninoff recalls the eternal struggle of Eros and Thanatos. The allusion that death lurks in a dance movement full of life confronts the desire for life and death in a paradoxical delight: tragic and exhilarating, deeply romantic. ESSENTIAL LISTENING: Rachmaninoff: The Symphonies Concertgebouw Orchestra/ Vladimir Ashkenazy Decca (1998) PAUL E. ROBINSON RECOMMENDS Hector Berlioz ( ) La Mort de Cléopâtre Composed in 1829 Similarities: Berlioz (literally) wrote the book on orchestration and the Symphonie fantastique is full of instrumental novelties (e.g. two sets of timpani, e-flat clarinet, orchestral bells, col legno effects, etc.). La mort de Cléopâtre is equally startling for the period. Differences: As Cleopatra is fatally bitten by the snake Berlioz has the two flutists switch to piccolos for the only time in the symphony to play four notes fortissimo! Equally original is the depiction of death in the final pages. The double basses (no doubling with cellos!) play the same 2-note figure no fewer than 128 times in succession. The effect is truly hypnotic and otherworldly. ESSENTIAL LISTENING: Berlioz: La Mort de Cléopâtre/Symphonie fantastique Susan Graham, mezzo-soprano; Berlin Philharmonic/Simon Rattle EMI Classics (2008) Hear Berlioz s Symphonie fantastique LIVE in concert: Royal Philharmonic Orchestra & the National Arts Centre Orchestra/Zukerman in Ottawa; January, Orchestre symphonique de Montréal/Nagano; in Montreal: March 27, 29 & 31, In Quebec City: March 28, TRANSLATION: LAURA BATES 46

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48 CONTEST CIOC Pipe dream turned reality Christian Lane, 2011 CIOC Winner by CRYSTAL CHAN christian Lane didn t think he d be back. It was just around the time that he left Montreal after placing as a semi-finalist at the inaugural Canadian International Organ Competition (CIOC) in 2008 that the competition-fatigue kicked in. I was mentally done with competitions, he explains. Not surprising, as Lane had been playing the competition circuit with the degree of seriousness more commonly seen in his fellow keyboardists, the piano players, from a very early age. He first tried his hand at the organ at age five. He was learning seriously by grade two (he had easy access to organs while growing up, as his father was a United Methodist pastor in Hampstead, and then Walkersville, Maryland). Before turning 21, he had won four major competitions: the Albert Schweitzer OC/USA, the American Guild of Organists Region III Competition for Young Organists, the Augustana Arts/Reuter National Undergraduate OC, and the Arthur Poister National OC. He then went on to place second at the prestigious AGO National Young Artist Competition and Miami IOC. Lane, now 30, is Harvard University s associate university organist and choirmaster; he s been with Harvard since fall 2008, where he not only plays but also teaches the repertoire of the great masters: from Frescobaldi to Messiaen. He s also taken a keen interest in commissioning new music, especially alongside frequent collaborator, soprano Jolle Greenleaf. I think that a good organist has to be well versed in all styles of rep, says Lane. Trends come and go. If you were to look at the 60s and 70s, there was a huge movement away from anything that is Romantic. It was all about performance practice, and [early music] was the only good true music. I think that that s absurd; as organists we need to embrace our repertoire. And we are blessed with the common[ly-played] modern instrument with the widest repertoire; there are people writing really inventive music for the organ today but people also wrote for it back in the 15 th century! Why did he jump back on the competition wagon for the CIOC? It s such a high class affair, explains Lane. They really know what they re doing. The Notre-Dame Basilica s Casavant organ is huge and fun to play. And he was eager to meet fellow organists some of the top in the world. All this seems more exciting to him than his winning first prize, although he acknowledges it opens a tremendous number of doors. Since I ve gotten back everybody has been asking me if I m on cloud nine, he continues. And I m not. Because for me, this is what I do I play the organ. I set a goal: to go to Montreal and play as well as I could. But for me winning this goal isn t this life-changing event. It s always luck to a degree. I was shocked. I never feel like I play well enough. He shrugs off the suggestion that, in fact, his winning so many competitions points to his playing very well, saying: My strength is not playing all the right notes and having the most perfect technique. It s definitely not. He Everybody is asking me since I ve gotten back if I m on cloud nine. And I m not. Because for me, this is what I do I play the organ. pauses, then concedes: But I think that I have something to say. And I know how to tame this instrument that is so untamable even for really fine technical players. The trick involves solving how to convey rhythm with an instrument that does not convey dynamics between notes. So much of playing the organ comes down to finding a way to communicate through really vibrant rhythm, he claims. We usually perceive rhythm based on strong beats being louder, but you can t do that on the organ. The organist must come up with ways to make the listener perceive loudness. Techniques include holding notes on strong beats a little longer. I think conveying that rhythm and therefore being able to communicate is probably my biggest strength, he adds. Ultimately, communicating to others through the organ is also intensely personal. As he says: For me, music in general and organ being one vehicle for that is how I both center myself and also have some spiritual grounding. LSM Solo Organ Recital on May 18, 2012, at the Organix Festival in Toronto at the Metropolitan United Church 48

49 PORTRAIT Raymond Cloutier One passion, Many Domains by ROXANA PASCA atheatre and cinema giant, Raymond Cloutier has worn many hats over the course of his career: actor, director, writer, teacher, and radio personality. Since 2007, he has been the head of the Con servatoire d art dramatique de Montréal. It s a role tailor-made for this enthusiast. Fiction and Reality Born into a family of hoteliers, Raymond Cloutier attended boarding school from a young age. It was there that he discovered theatre. From the age of five or six, I was on stage all the time, he recalls. At first, theatre was merely a way to relieve boredom at school, but it soon became a refuge. Thanks to theatre, my life at boarding school became more comfortable, he says. It made life a little more meaningful. His youth was spent, as he puts it, not in the reality of a family, but in the reality of fiction and theatre. When he was offered a place at the Conservatoire d art dramatique de Montréal, Cloutier thought he had found his happy ending. I didn t know what else to do, he says. I was stuck in this fictional universe. At the Conservatoire with teachers such as François Cartier and Georges Groux, he learned the art of performance and how to push the limits of his gift as an actor. Everything was interesting to me, he says of his four years at the Conservatoire, one of which was spent in Quebec City with Jean Valcourt and Marc Doré studying creative theatre, improv, and experimental theatre. Cloutier graduated from the Conservatoire in 1968 with great distinction and a wealth of knowledge. The wait for success was short. Noticed at an improv night, he was offered a series of unexpected contracts: a role in Le Drap, a play staged in Strasbourg, and another in Les quinze rouleaux d argent presented in La Chaux-de-Fonds, Switzerland. I had one contract from October to late November in Strasbourg, and another one from January to May in La Chaux-de-Fonds in addition to a tour in Switzerland, eastern France, and a few performances in Paris. It was a dream year. Anything but Ordinary In addition to being an enriching experience, Raymond Cloutier s year in Europe introduced him to the secret life of a theatre troupe. This communal and bohemian lifestyle was based on a cooperative and egalitarian model in which everyone the director, the technicians, PHOTO Alain Tremblay and all the actors in between earned the same salary. The experience sparked the Grande Cirque Ordinaire, an extraordinary adventure for the emerging actor. With collectively created shows, the troupe wanted to make theatre that was absolutely not alienating, he says. Supported by Albert Millaire and the Théâtre Populaire du Québec, the Grande Cirque Ordinaire staged nine productions between 1969 and 1978, including T es pas tannée, Jeanne d Arc? (1969), La famille transparente (1970) and T en rappelles-tu Pibrac? (1971). The latter tells the true story of a small village near Jonquière that was to be flooded. However, in the shadow of the recent October Crisis, it was judged too outrageous and political. Raymond Cloutier and his friends were therefore dismissed from the Grand Cirque Ordinaire. The setback didn t discourage the young actor, so full of ideas and ambition; a few years later he would produce two solo shows, Mandrake chez lui in 1976 and Le Rendez-vous d août in From the Stage to the Screen Alongside his fledgling theatre career, Cloutier also pursued a career in cinema. He started big with a role in Gilles Carle s Red (1970), followed by another in La tête de Normande Saint-Onge (1975). Working with Carle was not at all easy for the actor, as the director s methods were not always compatible with his own. Gilles Carle, influenced by the documentary school of the NFB, was an adept at cinema vérité. He thought that by putting me in real situations, I would become a better actor. As a result, Cloutier often found himself in unexpected situations, such as the time Carle had him attacked by fifteen men during shooting in order to capture the most authentic fear possible. For an actor who had been on stage since the age of five, who did four years at the Conservatoire followed by a European tour, it was an absolute insult. Following this somewhat disconcerting collaboration with Gilles Carle, Cloutier continued his cinema career with, among others, Jean-Claude Labrecque s les Vautours (1975) and l Affaire Coffin (1980), Lionel Chetwynd s Two Solitudes (1978), Jean Beaudin s Cordélia (1980), Brigitte Sauriol s Rien qu un jeu (1983), Jean-Marc Vallée s Liste Noire (1995) and more recently, Simon Lavoie s Le déserteur (2008), Michel Monty s Une vie qui commence (2010) and Sylvain Archambault s French Kiss (2011). It s also worth noting that he has also portrayed a number of prestigious figures on television, including Louis Riel in the Georges Bloomfield series Riel (1979) and Jean Drapeau in Alain Chartrand s series Montréal ville ouverte (1992). A Passion for Writing I always told myself that I should write a couple of novels in my lifetime, Raymond Cloutier confesses. The dream became a reality in 1998 with the publication of Un retour simple, an improvised novel written in the same manner as the shows of the Grand Cirque Ordinaire. One year later, it was followed by Le beau milieu, an essay on the structure of the diffusion of Montreal theatre. In 2000, he published his second novel, Le Maître d hôtel. It s the divine side of writing that interests me, that pure and unlimited freedom, he says. This passion for writing and literature led him to host literary shows on Radio-Canada s Première chaîne from 2004 to During this period, he had to read five novels per week. From this experience, he concluded that too many people write too many novels. It was a bit inhibiting, he says. I thought, if I want to write, I d better write something really good, or else it won t be worth the trouble. Nevertheless, his desire to write remains and he has not ruled out the possibility of publishing another novel. On top of his creative pursuits, Raymond Cloutier has a long history of teaching. He has taught the art of improvisation spontaneous creation to generations of actors. It s quite moving to see these young people who couldn t get up and improvise a few months ago becme masters of substance, balls of invention, he remarks. A passion for youth and the dissemination of knowledge persuaded Cloutier to resume his post as the director of the Conservatoire d art dramatique de Montréal in 2007, a prestigious position that he had held from 1987 to While he recognizes the talents and aptitudes of Conservatoire graduates, he confesses that he has little confidence in their futures. We need a network of companies, especially permanent theatres, throughout Quebec, he says. That way, young actors, at least the best among them, would have the chance to be on stage and live their art. I m hoping to get the Minister of Culture to help create stepping stones for these young actors, Cloutier says. We ve focused so much on the survival of [the French language], but a language doesn t survive all on its own. It survives thanks to literature and theatre. LSM TRANSLATION: REBECCA ANNE CLARK 49

50 ARTS THIS WINTER ΩDance by TAO FEI & HANNAH RAHIMI Montreal s upcoming dance season gives audiences plenty to savor through the winter months: a batch of visiting artists and companies, as well as a cross section of homegrown hotshots, with offerings ranging from big classical ballet productions to magnetic solos to gems on the edge of contemporary and avantgarde practices. One thing is for sure: this will be the time to discover virtuosic dancing in its many incarnations. Last chance to decide whether 2011 will be naughty or nice: Reigning enfant terrible Dave St-Pierre closes out Théâtre La Chapelle s fall season with another provocative piece, Le cycle de la boucherie (Nov. 29 to Dec. 17). The 18+ dance theater work, featuring no-holdsbarred performers like Vincent Morelle and Sylvia Camarda in explicit entanglements, marks the Quebec choreographer s first collaboration with the Canadian-led, Dutch contemporary company Dance Works Rot - terdam/andré Gingras. For wholesome, PGrated fare, Les Grands Ballets Canadiens de Montréal returns to Salle Wilfrid-Pelletier STRAIGHT RIGHT... Featuring Ève Garnier and Victoria May PHOTO danse-cite.org BATSHEVA PHOTO Gadi Dagon BELOW: PERSONAE, featuring José navas PHOTO Valérie Simmons with their perennial family favorite, Fernand Nault s The Nutcracker (Dec. 10 to 30). The live Tchaikovsky score and the first curtain reveal of the Kingdom of Sweets in spires the fuzzy feeling every time. The Danse Danse season resumes in January with two renowned choreographers each taking the stage. First is an intimate engagement with José Navas/Compagnie Flak, at Cinquième Salle. The veteran Venezuelan-born Quebec choreographer will perform Personae (Jan. 11 to 28), a brand-new suite of stripped-down solos set to music ranging from Patti Smith to Rachmaninoff. TF Contemporary dance company Mandala Sitù takes the stage at Agora de la Danse in a presentation of Bijoux (Jan. 18 to 21). In this intimate, poetic creation, five male choreographers intersect with five female dancers to question ideas of femininity and identity. UKbased dancer and choreographer Akram Khan brings two award-winning works to the Théâtre Maisonneuve, displaying his unique blend of contemporary dance and Kathak, classical Indian dance. In Gnosis, he melds Eastern chants, live music and magical choreography (Jan. 24 to 25), followed by Vertical Road, which draws inspiration from Sufi tradition and the Persian poet Rumi, featuring the music of Nitin Sawhney (Jan. 26 to 28). If you re craving the cutting edge, check out the newly formed collective C est Juste Lundi in their very first performance, Pierre-Marc et ses angèles les derniers bleus, in which four dancers explore the intersection between the absurd and the profound at Théâtre La Chapelle (Jan. 25 to 28). Montréal Danse, which is celebrating its 25 th anniversary, kicks off the month with two productions at Agora de la danse. Jean-Sé - bastien Lourdais push - es the limits of the body with his edgy, corporeal choreography in a premiere performance of Three Skins (Feb.1 to 3). In George Stamos Husk, three dancers collaborate with musician /composer Jackie Gallant in a profound navigation of gender and the mind/body dicho - tomy (Feb. 8 to 10). In the spirit of Valentines Day, the young Central-African choreographer Ghislaine Doté tackles the theme of marriage in Merry Age, a comic and lively Virtuo Danse performance at Agora de la danse (Feb. 15 to 18). In multi-cultural Montreal, audiences may be particularly interested in explorations of migratory identity such as Danse-Cité s Straight Right ou l art d être Nulle part Ailleurs (Feb. 16 to 25, Espace Go). Ève Garnier and Victoria May perform four stories of migration, displacement and memory staged by local and international choreographers, composers and photographers. HR Over at Usine C, strap on your seatbelts for an appearance by Lisbeth Gruwez, wild child of the Belgian avant-garde and muse of Jan Fabre. She packs in all of her feral wattage into Birth of Prey (Feb. 23 to 25), a rock-star solo work backed by an onstage drummer and guitarist. A North American premiere. The highlight of Danse Danse s season has to be the Montreal return of Israel s Batsheva Dance Company with a new piece by Artistic Director Ohad Naharin, entitled Hora (Mar. 1 to 3). Naharin s now-classic 50

51 GNOSIS, featuring Akram Khan PHOTO Valérie Simmons contemporary dances feature in the repertories of top-flight companies around the globe, but nothing is like seeing his distinctive technique on his own troupe all guts and glory, especially the women. To see another worldclass ensemble, this time a bastion of Russian classicism, the 150- year-old Kiev Ballet performs Igor Zelensky s Swan Lake (Mar. 8 to 11) at Salle Wilfrid-Pelletier. Its famed school in the Ukraine has produced some of the biggest ballet stars on the planet. Prefer another vision (sans tutus) of women dancing? Belgium-based Canadian dancer and choreographer Lise Vachon will visit Tangente at Mo nument- National with powerhouse dan cer Lisbeth Gruwez to present Sliding (Mar. 8 to 11), a brand-new duet of shifting silhouettes in an Edward Hopper-esque universe. And at the end of the month at Agora de la danse, don t miss a second chance to see the latest piece by Canada s leading contemporary choreographer Crystal Pite, with her Frankfurt-based company Kidd Pivot. First presented in Montreal at last summer s FTA, The You Show (Mar. 21 to 24) is a four-part evening-length work for eight superhuman dancers tackling epic human themes. TF Agora de la danse presents Orlando, the newest work of choreographer Deborah Dunn, performed by members of Trial and Eros (Mar. 14 to 17). Seven dancers rehearse themes of androgyny and metamorphosis in this absorbing, surreal piece based on the Virginia Woolf novel. HR The final snowstorm in April will likely take place at Usine C: An appearance by Tokyo-based dancer, choreographer and multimedia artist Hiroaki Umeda, as part of the sixth edition of the Festival Temps d Images. A major player of the Japanese avant-garde, Umeda will present the North American premiere of his acclaimed Holistic Strata (Apr. 19 to 21), a hyperkinetic, street style-inflected solo set against mind-warping projections of blustering black and white static. TF ΩTheatre ROBIN HOOD REDUX by JAMES GARTLER The winter months typically stir up feelings of isolation, financial frustrations, memories of lost loves and dreams of warmer nights. How fitting, then, that Montreal playhouses will bring these sentiments to life all across town in the coming months, offering a variety of productions aimed at exploring the struggles of the human heart, or simply shaking audiences out of their frozen funk. Robin Hood Redux: There Will Be Tights is likely to fall into the latter category. This Purple Doorknob Production promises to turn the legend of the Prince of Thieves on its ear by reversing the genders of the main characters. Evil Prince John becomes Princess Eileen, Maid Marian becomes Lord Marion, and even Robin himself becomes a herself. To find out if that translates into comedic gold, pay a visit to Mainline theatre (Nov. 30 to Dec. 3). Those seeking a reason to get up and dance will rejoice at the return of Mamma Mia! in the New Year. The ABBA-powered Broadway musical will take over Place-des-Arts for an eightperformance run (Jan. 3 to 8). Though most have likely seen the Meryl Streep film version by now, the show remains popular thanks to its ability to create a party atmosphere among the attendees. With classic hits like Dancing Queen, Chiquitita and Winner Takes It All woven into the plot, it s easy to see why. MAMMA MIA! ARTS THIS WINTER Fans of Calgary-born playwright/actor/director Morris Panych are in for a run of good luck. His newest work, In Absentia, will make its world premiere at the Centaur Theatre (Jan. 31 to March 4). The play follows Colette, a woman whose spirit has been crippled since the kidnapping of her husband, Tom, a year prior, while on a business trip in Columbia. Holed up in their cottage, she catches sight of a young man who bears a strange resemblance to Tom and reaches out, offering him some escape from the cold. With young up-and-comer Jade Hassouné in the cast, along with Paul Hopkins (Segal s The Play s the Thing), this one is de finitely a must-see. Those hoping to get a taste of Panych s more signature comedic GUY SPRUNG style, meanwhile, will be happy to hear that Vigil is being staged by the Segal Centre (March 11 to April 1). Audiences in London, Paris and across Canada have enjoyed this tale of a bank employee who travels to be with his Aunt when she claims she s on her last breath. For a look at an industry in a similar situation, make a note of Ars Poetica, opening at Infinitheatre (Jan. 17 to Feb. 12). This new comedy by local writer Arthur Holden follows the struggles of a Montreal literary magazine attempting to stay a - float with the help of a lawyer, of all things. LYNN NOTTAGE Originally workshopped as part of Infinitheatre s series of public readings The Pipeline, Ars is directed by Guy Sprung. Centaur Theatre will present Pierre de Marivaux s classic play The Game of Love and Chance, adapted and translated by Nicolas Billon (March 6 to April 1). First staged in 1730, this romantic comedy sees an upper-class girl switch places with her maid before meeting the boy her father would like her to marry. As it turns out, her suitor has also disguised himself as his chauffeur, in an attempt to get a more honest look at her personality. With servants and masters swapping roles, the resulting hyjinks force both couples to question the notions of social class, a theme also relevant in Intimate Apparel, which runs at the Centaur (March 27 to April 29). Apparel tells the story of African-American seamstress Esther, whose attempts to save money while serving the ladies of New York s high society circles in 1905 unexpectedly lead to a marriage proposal and a chance at a better life. With a script by Pulitzer Prize-winner Lynn Nottage, a six-person cast featuring local talent Lucinda Davis and a ragtime soundtrack to boot, this one sounds like an ideal way to bid farewell to the winter woes and welcome in spring. LSM 51

52 ARTS THIS WINTER Visual Arts by JULIE BEAULIEU VALÉRIE BLASS, FEMME PANIER PHOTO Max Tremblay TOP RIGHT: Lyonel Feininger, Façades I, Lunebourg BOTTOM RIGHT: in Traffic: Theodore Wan, Bridine Scrub (For General Surgery) What does this winter s 2012 artistic and cultural scene have in store for us? As the cold-weather season approaches, here are some exhibitions I suggest you see this winter, along with a reminder of what is currently on show this fall. Enjoy your visit! For the first time in almost 50 years, Quebeckers will be able to see the first North American Lyonel Feininger retrospective (Jan. 20 to May 13). Lyonel Feininger: From Manhattan to the Bauhaus at Musée des Beaux-arts de Montréal is a comprehensive panorama of the works of the painter featuring his early satirical cartoons, comic strips, little-known photographs and hand-made wood figures, emblematic depictions of carnival scenes, architecture and seascapes. Feininger was not just an artist, but also a musician, a talented violinist and composer. Music, which played an influential role in the work of the artist, holds a special place in this exhibition. The Montreal Musée d art contemporain makes way for women artists. The Ghada Amer exhibition (Feb. 2 to April 22) presents some of the most significant works of this Cairo-born American artist. Egyptian artist Ghada Amer is inspired by pornography, popular culture and ancient legends to evoke womanly pleasure, obsessive desire and erotic awareness, says Marie Christine Eyene, art critic and freelance curator. Also on show at the Musée d art contemporain is the exhibition Wangechi Mutu featuring the museum s recent acquisition, the installation Moth Girls (Feb. 2 to April 22). The remarkable work by Mutu, a Nairobi-born New York artist, merges poetic symbolism with socio-political critique anchored in the memory of a land, its roots and ancient traditions in a unique collection whose aesthetic and political issues are still current. Still at the Musée d art contemporain, Montreal artist Valérie Blass will be honoured (Feb. 2 to April 22) in an exhibition that will unveil her newest works alongside some of her earlier ones. Jointly curated by several curators from across Canada, Traffic: Conceptual art in Canada will be shown concurrently in Toronto, Guelph and London and at Concordia University s Leonard and Bina Ellen Art Gallery (Jan. 13 to Feb. 25). It is the first major exhibition on the influence and diversity of Canadian Conceptual Art. LSM Up Close and Personal with the Caillebotte Brothers. Painter and Photographer: an inside look at France in the age of Impressionism exhibition invites you to an intimate meeting between two views, two visions. Although photography was still in its early stages in the 19 th century, Martial produced at least 150 unedited photographs, which are hung alongside some 40 paintings produced by his brother Gustave a patron and great friend of the Impressionists including Degas, Monet and Renoir. On exhibition at Musée National des Beaux-arts du Québec until January 8. Also at the Musée National des Beaux-arts du Québec: the exhibitions Napoleon Bourassa. A Quest for the Ideal (until January 15) and Steichen. Glamour Fashion and Celebrities. The Condé Nast Years (until Feb. 5). Dorothea Rockburne: In My Mind s Eye is the first retrospective exhibition of the Montreal-born NOW SHOWING G. CAILLEBOTTE, UN BALCON artist Dorothea Rockburne, bringing together about 50 of her works. Following her studies at Montreal s École des beaux-arts and the MBAM, she continued her training at Black Mountain College in North Carolina, notably with Franz Kline, Jack Tworkov and Esteban Vicente. On exhibition until April 8 at the Musée des Beaux-arts de Montréal, where the Quebec public will discover the development of a Montreal artist s abstraction abroad. There is no entry fee. The 50 or so portraits of Quebec artists painted by Richard-Max Tremblay since 1983 are currently on display in the exhibition Tête-à-tête at Musée des Beaux-arts de Montréal until February 5. It is worth mentioning that the MBAM collection, which has grown significantly since 1980, has resulted in the exhibition, Quebec and Canadian Art and includes some of its outstanding acquisitions. TRANSLATION: LYNN TRAVERS 52

53 For the cost of a bouquet of flowers, why not offer a more unique valentine? THE PERFECT GIFT FOR THE HOLIDAYS Singing Valentines Opera singers on hand to deliver an aria or other love song over the telephone! All proceeds will benefit La Scena Musicale For more information Opéra IN MONTRÉAL to benefit La Scena Musicale / La SCENA Choose from: Musical History Map (rolled poster) $24.95 USD Musical History Map (goldtone framed poster) $ USD» IL TROVATORE (Verdi) 21, 24, 26 & 28 January» FAUST (Gounod) 19, 22, 24 & 26 May Opéra de Montréal 1 (877) Visit our website to order online via paypal at Musicposters.com! Music Posters dons.lascena.org Number of tickets limited

54 ADISQ 2011 NOMINATION ALBUM OF THE YEAR WORLD MUSIC Convivencia, a haunting beauty of an album, celebrates a period in Andalusia in the 10th and 11th centuries Bernard Pérusse, The Gazette (2011) Available in record stores and as high resolution download on hdtracks.com mandragore.ca back issues now available scena.org 1 - McGill Wind Symphony - Pollack Hall - 7:30 p.m. $10 Alain Cazes, director 2/3 - McGill Sinfonietta - Pollack Hall - 7:30 p.m. $12 Elizabeth Dolin, cello; Baptiste Rodrigues, violin Alexis Hauser, conductor 5 - McGill Baroque Orchestra / Schulich Singers Redpath Hall - 7:30 p.m. $10 - Matthias Maute, conductor 5 - McGill Jazz Orchestra II - Tanna Schulich Hall - 7:30 p.m. $10 Ron Di Lauro, director JANUA RY DECEMBER 20 - Hank Knox, harpsichord - Redpath Hall - 7:30 p.m. $10 26/27/28 - OPERA McGILL - Pollack Hall - 7:30 p.m. - $30 / $ OPERA McGILL - Pollack Hall - 2:00 p.m. - $30 / $25 Mozart: Don Giovanni - McGill Symphony Orchestra Gordon Gerrard, conductor - Patrick Hansen, director, Opera McGill BOX OFFICE

55 December 22 7:30 p.m. AN EXCELLENT IDEA GIFT FOR CHRISTMAS! ACCORDING TO 5 th edition OFFICIAL PARTNER CONDUCTOR Yannick Nézet-Séguin Orchestre Métropolitain Choir Saint-Jean-Baptiste Church orchestremetropolitain.com February 3 th, 2012, 8:00pm La Maison symphonique de Montréal The Diva Marie-Josée Lord in concert with the Orchestre Metropolitain directed by Stéphane Laforest. Artistic program includes music from Bizet, Puccini, Gershwin and an extract from Starmania. To purchase tickets matched with a donation to the Institut du cancer de Montréal, please call: Regular tickets: $35, $50, $60 and $75 (Plus service and taxes) Available at the Box office or laplacedesarts.com concertcontrelecancer.com

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