La Scena Musicale

Monday, 2 May 2016

Cette semaine à Montréal (2 à 8 mai) / This Week in Montreal (May 2–8)

English follows

Fin de Saison : La Chapelle Historique

Le dernier concert de la série Beethoven : Les sonates pour piano et violon avec le violoniste Olivier Thouin et le pianiste François Zeitouni aura lieu le 8 mai à 15 h.


L’OSM et Danse Danse présentent Anatomie d’un souffle, une soirée de danse et de musique sous le souffle du Grand Orgue Pierre-Béique. Avec l’organiste Jean Willy Kunz et la compagnie de danse Le Carré des Lombes, dans une chorégraphie conçue par Danièle Desnoyers sur une œuvre de John Rea et des compositeurs Frescobaldi, Alain et Messiaen. Maison symphonique, 6 et 7 mai, 20 h.

Les Violons du Roy

Le chef Jonathan Cohen retrouvera l’ensemble pour interpréter des concertos de Bach avec la violoniste Isabelle Faust. Salle Bourgie, 6 mai, 19 h 30 et 7 mai, 15 h.

Jayson Gillham à l'OCM

En collaboration avec le Concours Musical International de Montréal, l’Orchestre de chambre McGill recevra Jayson Gillham, Premier prix au CMIM piano 2014. Gilham interprétera le Concerto pour piano no 12 de Mozart et le Concerto pour piano en ré majeur de Haydn. Salle Bourgie, 3 mai, 19 h.

Nouveau Trio de Jeunes Solistes à Pro Musica

Récemment formé de trois musiciens ayant réalisé une brillante carrière de solistes, le Trio Boréal rassemble le clarinettiste Uriel Vanchestein, l’altiste Juan-Miguel Hernandez et le pianiste Wonny Song. Enchaînant les cours de maître et les ateliers, le jeune trio s’engage à attirer de nouveaux publics partout dans le monde. Œuvres de Prokofiev, Vanchestein, Francaix et Chostakovitch. Salle Bourgie, 8 mai, 15 h 30.


End of Season at the Chapelle Historique

The last concert of the series Beethoven: The Sonatas for Piano and Violin with violinist Olivier Thouin and pianist François Zeitouni will take place on May 8 at 3 pm.


MSO and Danse Danse present Anatomy of a Sigh, an evening of dance and music to the sound of the Grand Orgue Pierre-Béique. With organist Jean Willy Kunz and Le Carré des Lombes dance company, in a choreography by Danièle Desnoyers to music by John Rea, ­Frescobaldi, Alain, and Messiaen. Maison symphonique, May 6 and 7 at 8 pm.

The Violons du Roy

Conductor Jonathan Cohen joins the ­ensemble to perform Bach concertos with ­violinist Isabelle Faust. Bourgie Hall, May 6 at 7:30 pm and 7 at 3 pm.

Jayson Gillham with the MCO

In collaboration with the Concours Musical International de Montréal, the McGill Chamber Orchestra hosts Jayson Gillham, first prize at the CMIM piano edition in 2014. Gillham will perform Mozart’s Piano Concerto no. 12 and Haydn’s Piano Concerto in D Major. Bourgie Hall, May 3, 7 pm.

New Trio of young musicians at Pro ­Musica

Recently formed by three musicians who’ve had brilliant careers as soloists, the Trio Boréal brings together clarinetist Uriel ­Vanchestein, violist Juan-Miguel Hernandez, and pianist Wonny Song. Stacking up the master classes and workshops, the young trio is actively attracting new audiences across the world. Works by Prokofiev, Vanchestein, Francaix, and Shostakovich. Bourgie Hall, May 8, 3:30 pm.

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Lebrecht Weekly - Mahler: 3rd symphony (DSO Live)

2/5 stars

What can New York expect of its next music director? Jaap van Zweeden’s recordings can be counted on your fingers and most are – like this release with the Dallas Symphony – live concerts. Mahler’s third symphony is a large and unwieldy piece with a mezzo soloist and women’s and children’s choruses, a test of organisation for any conductor before he or she can begin to think about interpretation.

On first hearing, this performance is efficient and attractive with sustainable speeds and some fetching solos from the concertmaster, Alexander Kerr. The vocal soloist Kelley O’Connor lacks heft and any dimensiom of the ominous in her Nietzschean admonition but that may be a balancing fault in the hall rather than a conductor or singer shortcoming. The choirs do their bims and bams with every possible display of enthusiasm, and then some.

It takes a second hearing to determine what’s missing. In a word: character. Van Zweden takes a pace so safe that he struggles to introduce any kind of individuality to the shaping and phrasing of the 90-minute work. Everything is present and correct and there’s nothing out of the ordinary. Nor is there any sense of Mahlerian irony and ambiguity, the possibility of worlds beyond the literal score. By the time you reach the finale – the first of Mahler’s great adagios – it feels like you’ve taken a long hike and got absolutely nowhere that you want to spend the night. In the great roll of Maher 3 albums – Kubelik, Horenstein, Tennstedt, Abbado, Chailly – this does not pass my audition test. New York, I fear, could be in for a dull half-decade.

—Norman Lebrecht

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