INTERVIEW | Jean-Philippe Tremblay: Singing the praises of smaller Mahler
Par Arthur Kaptainis le 31 juillet 2018
When I spoke to Jean-Philippe Tremblay a few weeks ago, there were 20 tickets left for Le Fantôme de l’Opéra.
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Par Arthur Kaptainis le 31 juillet 2018
When I spoke to Jean-Philippe Tremblay a few weeks ago, there were 20 tickets left for Le Fantôme de l’Opéra.
(Continuer)Par Arthur Kaptainis le 21 juillet 2018
C'est avec tristesse que nous avons appris ce matin le décès du grand compositeur et chef d'orchestre polonais Krzysztof Penderecki, qui vient de nous quitter à l'âge de 86 ans. En 2018, notre collaborateur, Arthur Kaptainis, le rencontrait à Cracovie pour un entretien passionnant.
(Continuer)Par Arthur Kaptainis le 16 juillet 2018
“Only at Lanaudière” would not be strictly accurate. After all, Kent Nagano and the OSM will perform Krzysztof Penderecki’s St. Luke Passion on July 20 at the Salzburg Festival.
(Continuer)Par Arthur Kaptainis le 25 mai 2018
Chamber orchestras have long relied on transcriptions to shore up their limited repertory. Jean-Marie Zeitouni and I Musici de Montréal brought their season to a close on Thursday in Bourgie Hall with a program dominated by such works.
(Continuer)Par Arthur Kaptainis le 22 avril 2018
The repertoire for string quartet and orchestra is larger than one might suppose, even if Elgar’s Introduction and Allegro is the only such work we hear with any regularity. Now Samy Moussa has made a valuable contribution, called simply Concerto pour quatuor à cordes et orchestre, which had its world premiere Friday night under auspices of the Orchestre Métropolitain.
(Continuer)Par Arthur Kaptainis le 19 janvier 2018
Oh, dear. You know you are in trouble when the offbeat item in an OSM program is Weber’s Overture to Der Freischütz.
(Continuer)Par Arthur Kaptainis le 2 octobre 2017
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Par Arthur Kaptainis le 16 septembre 2017
Les Violons du Roy venture far and often from their historical core of baroque and classical repertoire. On Friday the Quebec City squad opened its Montreal operations (and the Bourgie Hall season) with a program of four works from the 20th century, one from the 21st and a 19th-century score that most music lovers would classify as timeless.
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