2012 BOURGIE HALL CONCERTS (MONTREAL)@Arts & Opinion

BOURGIE HALL CONCERTS

music reviews by

NANCY SNIPPER

2015

COUPERIN AND CAMPRA CREATE A LOVELY COMBINATION

Arion did it again. Always surprises within the beautiful program this outstanding baroque orchestra offers. On Sunday, May 17th inside Bourgie Hall, listeners were given a treat of inspiring music – François Couperin’s La Françoise and Andre Campra’s Messe de requiem. This celestial work of choral music featured the professional singers of La Chapelle de Québec. This beautiful choir was directed by award-winning conductor/harpsichordist, Christophe Rousset. He has garnered the most prestigious recognition: Chevalier of the Légion d’honneur, Commander in the Ordre des Arts et des Lettres and more.

Featured soloists, baritone David Roth was stunning in delivering “Kyrie” segment of the work, and was joined by tenor, Philippe Gagné. Their voices shine.

The entire Messe was so uplifting and sublime; the religious theme of the music was passionately conveyed.

It was preceded by the orchestra’s La Francoise which despite some tuning problems, and a few out-of-synch moments, I have to say all was forgotten when Claire Guimond and Alexa Raine Wright had their glorious moment with their baroque flutes in a small solo solo section; it was perfect. The entire work seemed to have the melody of beauty and lightness swirling in and out of each phrase. It was really lovely.

So much to savour in the concert. The joyous feelings that the French dance suite of “ La Franéoise” invokes is rare, but always assured when Arion is holding its baroque instruments as their bows transports us into the beauty of both these 17th-century compositions.

WONDERFUL CONDUCTOR POURS PASSION INTO I MUSICI CONCERT

It’s not every conductor that can navigate an all-string orchestra into the multi-layered music of Richard Strauss and Franz Schubert in one evening. However, under the brilliant baton Jean-Marie Zeitouni (of Egyptian and French Canadian heritage), one can expect glorious and energetic leadership. Strauss’s non-stop complex work, Metamorphosen demands such experienced artists of great stamina and sophistication to interpret the pathos and yearning in this expressive compostion that last almost a half hour.

Albeit, trying to catch a singular melody is next to impossible as each phrase never seems to piggy-back on to the next one and then the next one without ever having some satisfying musical conclusion. Key modulations imbedded in lush rich lines of polyphonic complexity take us on an ebb and flow ride where climaxes swiftly descend into a new musical moment.

Admittedly, Strauss eludes me though moving segments were noted. This is not the case though for Mr. Zeitouni who has traveled the world conducting countless notable orchestras. He also is the director of the Colorado Music Festival. I loved his movements and finesse -– total dedication to the musicians which for this work needed three double bass players and five violists. Ten violinists sat in a semi-circle on chairs around their conductor. Mr. Zeitouni never missed a moment to accelerate the passion in both pieces – which takes me to the indescribably beautiful work of Schubert’s String Quintet in C major, Op. 163.

I felt like I was reaching up to the heavens and touching the silver gossamer-like filaments of an angel in the godly Adagio movement. In contrast, the robust third movement reminded me of Beethoven. Its ebullient melodic motif and exciting, strident rhythm seemed to capture an Austrian peasant dance. The dynamics and profound expression in the work was impeccably performed by I Musici’s sixteen musicians. Mr. Zeitouni brought an inspiring and formidable presence to every musical moment in the evening’s concert which tool place May 13th in Bourgie Hall, Montreal.

BROTT AND BOUCHKOV BRING PASSION TO CONCERT

The brilliant internationally renowned conductor of the McGill Chamber Orchestra and multiple winner of First Prize Violinist, Marc Bouchkov performed with thrilling gusto on May 3rd in a program featuring composers, Louis Babin, Mendelssohn, Hayden and Tchaikovsky. Utterly inspiring; the performance beautifully showcased the passion and connection Mr. Brott has with all the members of his orchestra along with Mr. Bouchkov who often turned sideways to face his fellow performers. The romanticism of 24-year-old Marc Bouchkov is unmistakable. What a dashing talent he is.

So many musical themes and moods were embedded in Babin’s La Suite du Promeneur. It captured the angst and beauty we all feel as we go through life. The music offered a breezy opening of sweet converging melody lines, only to be followed by a variety of tempo and compositional flavours, including a macabre waltz and modern twists – not surprising - Babin was born in 1957. There were at least a dozen segments to the entire piece which made for a fulfilling listening experience..

Mendelssohn’s Violin Concerto in D minor gave us the star, Marc Bouchkov. He is such a feeling performer – so expressive, that even when he was not playing, his face would react to the music. I was so enthralled with his delivery; it was as if the violin was directly connected to the emotions lifting out of his heart. He wowed us and gave us a Bach as an extra treat without the orchestra accompanying him. He was able to actually make his violin sound like it had another playing the pulsating repetitive note that persisted throughout the entire moving piece while double stringing melody played over it. What technique – what a feat..

He performed another solo piece later in the concert that he had written in Edmonton. Entitled Fantasie, it was a remarkable composition with several variations on a turbulent theme that showed of his Eastern European brilliance (his parents were violinists from Ukraine). His performance ranked him as a modern-day Paganini. The orchestra’s performance of Tchaikovsky’s Serenade for Strings in C major, Op. 48 was marvelous, thus making the entire evening a rare experience for any classical music connoisseur.

GLUZMAN GLORIOUSLY PERFORMS OUTSTANDING PROGRAM WITH I MUSICI

April 8, Bourgie Hall

Guest violinist and conductor Vadim Gluzman wowed the audience with his effortless playing on his 1690 ‘ex-Leopold Auer violin while integrating I Musici’s 15 members in bringing to life the music of Mozart, Schittke and Shostakovich. It was a joyous evening of music making. Indeed, this Russian-born Israeli artist saturated each piece he performed with exuberant musicality, finesse and humour – as heard in the opening piece, Suite in the Old Style, by Alfred Schnittke. It was a lovely 'faux baroque' composition that exemplified the genius of this 20-th-century composer. His works have garnered the highest praise in the last two decades. In "Ballet," the second movement of the Suite, the most tender of theme – a simple phrase line - brought tears to my eyes, and then suddenly, Mr. Gluzman made his violin emulate some kind of cat scratching sound. It disarmed us all, but made us laugh. It was part of the score. Such is the unpredictability of Schnittke. The word featured pauses, juxtaposed with dashing playfulness in tempi that offered rhythmic excitement. Deliciously melodic lines featured harmonics that were well applied to extracts of the two film scores we heard that were written by Schnittke in 1960 – using the beautiful baroque style Suite in the Old Style immediately demonstrated the relaxed manner of Mr. Gluzman’s playing and the confidence he inspired with the orchestra – considering he conducted with his back to them, and had only two days to rehearse with them.

The short but mighty morose work, by Mozart – Adagio and Fugue in C minor, completely changed the spritely mood of the opening piece. More like Beethoven and Bruckner, this deeply complex work with its dualistic theme in fugal structure showed us an imperious, even furious side to Mozart who never constricted himself to the tried and true. If ever one wanted to make a case that it was Mozart, and not Beethoven who suffered from bi-polar disorder, this work strongly supports such a thesis. For this part of the performance, Mr. Gluzman sat beside first violinist/ concertmaster, Julie Triquet.

The Mozart we all love came to life in his Violin Concerto No.3 in G major – brightly performed and with great alacrity. Timing and expressive innuendoes were never lost to the speed and multiple notes saturating this inestimably appealing composition. The three movments ended all too swiftly.

The final work, Chamber Symphony Op. 110a by Shostakovich was deeply moving in its austere and relentless raging power and force. The fiercely ominous sounds, the repetitive sweeping strokes and staccatos in the music reminded us of the gunfire that robs mankind of all dignity. Played to perfection, Mr. Gluzman dramatically craved out images of horror in the battle terrain of Fascism, evoking images of war – all of it astoundingly well expressed with his fellow I Musici musicians sounding the cry of injustice.

I can’t rave enough about how stunningly enjoyable the concert was, despite the gravity of the theme in the final piece. The encore produced a darling happy polka by Shostakovich, and we all left the Hall in an upbeat mood -- ready to kick up our heels. http://imusici.com

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It was one of the greatest evenings of classical music to light up Bourgie Hall -- a celebration that included musical gifts from four of the world's best artists. The magnificent, mid-size L’Orchestre de Chambre de Montreal led by its founder and conductor--– the wondrously warm and gifted Wanda Kaluzny -- performed with four invited international soloists. Each one merited a concert on his/her own. They included top pianist, Sara Davis Buechner, dazzling soprano, Gianna Corbisiero, terrifically versatile trumpet player, Jens Lindemann and the brilliant 21-year-old Japanese violinist, Fumiaki Miura.

The program opened with Ms. Buechner playing Mozart’s Concerto No. 21 in C Major, known as “Elvira Madigan.” She displayed impressive power and finger dexterity in Mozart’s remarkably rapid runs, and each passage always ended as if it was as important as the notes that opened it. I imagine she is a marvellous performer of Beethoven and Liszt -- such is the technical yet playful prowess of her playing. I felt the second movement -- the Andante -- could have been more expressive with deeper nuanced diminuendos to convey tenderness and pathos, so this part of her performance lacked some sensitivity. Still, Ms. Buechner’s strength brings Mozart to a new level where lots of cadenzas are no longer connectors to fill in or end a passage but rather they become fascinating musical statements that also show off her stunning virtuosity. In fact, the program mentions she created these cadenzas. Awards have been bestowed upon her from five European royals, including Reine Elisabeth of Belgium. Ms. Buechner is one the world’s leading keyboard artists of our time. She has garnered top accolades for her recordings the world over (full and front page newspaper coverage, including the Sunday Arts & Leisure section, The New York Times). The last time she performed with the orchestra was 11 years ago; it was a thrilling reunion.

Next on the remarkable rostrum was soprano, Gianna Corbisiero. Wow! Wow! Wow! Her lusciously rich voice sent us to heaven and her cute gestures and facial expressions suited to the arias she performed enhanced her spectacular delivery. The aria,“Ebben? Ne andrò lontana” from Catalani’s opera, La Wally showed her passion, restraint and control, as did her charming “Una voce poco fa” from Il Barbiere di Siviglia. Poise and Spanish gusto came across in her Carmen. She showed her spicy side. In all she performed six of them, and never did she wane in passion. Her alluring radiant stage presence dominated each song despite the supremely demanding technical vocal feats which she polished off with personality, vigour and sparkling beauty.

In 1992 she performed with the orchestra, so her exhilarating presence was all the more intense. So happy was she to bring her gifts once more to Ms. Kaluzny’s perfect orchestra.

When trumpet master Jens Lindemann hit the stage with his jokes about his instrument really being the star of all the melodies in the pieces he performed -- with the strings being less important -- we all laughed. Furthermore, his wit and the funny put-on theatrically bossy persona he used to josh with his translator, MCO trumpet player Stéphane Beaulac -- who stood beside him when called to do so, acting like a lackey -- this was hilarious. Can this guy Jens Lindemann ever play. He told us wonderful true stories behind trumpet compositions, including Paul McCartney’s trumpet stand-out segment in The Beatles’ “Penny Lane.” His pieces came from the compositions of Debussy, Bach, Duke Ellington and many more exceptionally stunning works representing styles from the Baroque all the way to modern times. Four trumpets were used in the performance; he’ll do anything to get the right sound and the right laugh. Even the end of a toilet plunger found its way onto the bottom of his shiny green trumpet. He used it as a mute to make special effects as he created incredible sounds when playing a piece from Duke Ellington. Of course the orchestra joined him all the time.

After the concert during cocktails and champagne, Mr. Lindemann told me that too many musicians take it all too seriously. Indeed, he offers laugh-out-loud comedic relief. No wonder he was recently named, International Brass personality of the Year – just another award he can put amidst his other prizes, such as the 24k gold-plated trumpets that he performs on. In 1992, MCO invited him as soloist on their California tour.

Finally, the evening ended on a serious. Mendelssohn’s Concerto for Violin in E Minor, Opus 64, was magnificently interpreted. Mr. Miura is the consummate, non-showy artist whose attention is totally on the music. His expressive playing illustrated staggeringly supreme technique. He is an artist of such brilliance, I marvelled at his talent and obvious hard work, for this piece is of such difficulty, it belongs to the performance repertoire of virtuoso violinists. He has performed in Europe and Japan and has reaped the most prestigious awards ever bestowed on such a young musician. I refer specifically to the Music Critic’s Prize and the Audience Prize along with the First Prize (2009) Hannover Violin Competition – the youngest winner in the history of the competition and the one with the most prizes.

How nice for Ms. Kaluzny to be gifted a huge painting of her conducting with some of the string players in partial view. It was unveiled at the beginning of the evening by the painter, Daniel Gautier. The seascape in the background somehow summed up the eternal beauty of this MCO anniversary concert. Congratulations.

The evening began with Ravel’s Le Tombeau de Couperin. From the moment the solo oboe gently opened up the first movement with its undulating melody, we knew great music was about to be performed. The music woke up my imagination. This rich beautiful work set the scene. I could hear the rustling of leaves or was I seeing the ripples in a lake?

The second movement in 6/8 timing seemed to emulate a waltz whose eventual macabre tones created wandering passages of contrast. The third movement offered a vitality and exuberance of brazen joy. I recalled my delight in this work of the harp and string plucking that added an ethereal quality to the work. Written as a memorial tribute to the painful memories of war, nevertheless, the work was not sorrowful. To Ravel’s contemporaries who remarked on the surprisingly upbeat quality in this funerary composition – to which the title alludes, the celebrated composer replied: “The dead are already sad enough in their eternal silence.”
I was in heaven with Appassionata’s performance of this work which was originally conceived as a six-movement suite for piano which the composer then orchestrated into four movements.

Internationally acclaimed pianist, David Jalbert was the guest artist for the evening. His performance of Mozart’s Concerto for Piano No. 23 in A Major was warm and wondrous. The Allegro was lively, the Adagio most tender and the Allegro Assai was full of playful spiritedness. Mr. Jalbert’s trills and chromatic runs were silky textured. Moreover, the clarity he obtained when dashing off such challenging passages illustrated his brilliant virtuoso playing. Indeed, the entire piece rarely let up in rapid complex ascensions and descents. He is a sensitive artist who does have a touch of the nerves (as seen in his finger shaking -- not at all audible, as it did not affect his playing). Cleary, his genius and discipline mastered any performance anxiety. I very much felt connected to his playing which highlighted his attention to expressive phrasing which was never sacrificed or rushed, despite the extreme difficulty of this piece.

Finally, Beethoven’s Symphony No. 2 op. 36 in D Major was a tour de force that once again displayed the orchestra’s supreme confidence. Harmonious cohesion and seamless blending of the string, wind and horn sections created climactic crescendos of high emotional intensity.
Truly, one need not think that only a huge orchestra is capable of creating classical music magnificence. Simply sign up for Appassionata’s season tickets and be transported into bliss. For the upcoming concert season, visit: www.appassionata.ca

Conductor Wanda Kaluzny and cellist Cicely Parnas . . . Les femmes fatales offering magnificent music

What a wonderful concert given by this sensational small-sized Montreal Orchestra on Tuesday, December 10th. It was the second in a series of ‘Discovery’ concerts celebrating the orchestra’s 40th anniversary year – a musical body dedicated to showcasing brilliant young talent.

Montreal-born Maestra Kaluzny’s warmth along with her refreshingly effortless communication between the audience and the musicians are rare and unpretentious. She is a totally committed conductor whose ease belies the assiduous detail she applies as she shapes the music with her orchestra. Her foil was the incredible American cellist Cicely Parnas. Her passion coiled in an intensely emotional delivery of the pieces she performed was positively riveting. Imagine these two great artists: Ms. Kaluzny who has proven all over the world that women, baton in hand, stand professionally and proudly as leaders on the musical podium – she has not garnered several prestigious awards for nothing – the last of which was the Queen Elizabeth II Diamond Jubilee Medal; and Ms. Parnas, who at the age of 20 is major force for inspirational technique and interpretation. She is able to reach notes as high as one might hear in a violin, creating inestimable expressive splendour. The effect is breathtaking as she gives all she’s got to her 1712 Giovanni Gracino cello. Her last name is most apt, for when you think of Mount Parnas (different spelling), one wonders if she is a not in fact a recent addition to the pantheon of Gods who in a sporadic act of kindness have offered her up to us humans as if to say to the world, “This is the music we Gods make.”

The program opened with Beethoven’s Symphony No. 2 in D Major, and it was really wonderful to hear it as it is rarely played. It was followed by Cello Concerto No. 1 in A Minor by Saint-Saëns – a masterpiece that showcased Parnas’ staggering musicality.

Tim McGrath’s Concertino for Cello was premiered during this concert. It was especially written for the orchestra and Ms. Parnas, but it was his wife Anita who inspired the 18-minute-long work. He gorgeous creations weaves all kinds of musical flavours that reminded me of Copeland, Prokofiev and Bernstein at various times. It was like movie music and yet it was dashingly deep. Mr. McGrath is a Toronto composer whose credits include Degrssi for which he won a Gemini Award for best original score for a dramatic series.

I was enchanted by this piece as I was by the final offering: Petit Adagio from The Season: Autumn, by Alexander Glazunov. It is romantically beautiful, but its short length left a kind of comma to the evening’s end.

A word to add: Ms. Kaluzny, in her open way did not stop the audience from clapping in between every movement of each piece performed. I found it somewhat puzzling that people would do this, and I do not think it was consequent to overwhelming enthusiasm; there was no encore, and many seats were not filled for the performance – another source of puzzlement as this orchestra deserves utmost attention and attendance.

The Foundation Arte Musica is presenting a series of outstanding concerts within the magnificent Bourgie Hall. The collaboration of it founder Pierre Bourgie and The Montreal Museum Fine Arts’ General and Artistic Director, Isolde Lagacé, has created a remarkable gift of music, art, film and lectures to inspire all lovers of beauty. In fact, the program reflects the various exhibitions housed in the Museum itself. From Debussy and French music to Latin America with a focus on Peru and Brazil, the music creates a glorious echo of the visual side of art to behold displayed at the museum.

I had the pleasure to attend some of these concerts – the first of which featured musicians from the Orchestre Métropolitain: violinists Yukari Cousineau and Marcelle Mallette, violists Brian Bacon and Pierre Tourville, cellist Vincent Bernard and pianist Jean Saulnier.

The first part of the program featured a wondrous work by Antonin Dvorák (1841-1904): the String Quintet in E-flat Major, Opus 97, B. 190. Its four movements evoked vivid images of forest magic. I felt as if I were walking in a nature nook where the wind was whispering among leaves over my head and an enchanting babbling brook was at my feet. The masterful variations of string bowing created these images within a melody mimicking the airy beauty of fluttering winged birds darting in and out of trees. The gentle musical line ripe with rises and falls from the violas seemed to replicate rippling waters. Great timing and mature energy infused the playing.

Indeed such highly expressive renderings showcased the impeccable ensemble playing of these five musicians. The third movement’s Larghetto seemed to take a pensive turn into nostalgia and sadness. It was as if this person I had imagined was actually reminiscing about the days gone by when he or she could enjoy all this freedom in nature. Was this the secret spot for a now older person who was reflecting back on childhood? Clearly Dvorák was inspired by his land. This was not music made to impress aristocrats; this was music for people living in and in love with the rustic surroundings characterizing their country’s countryside. There were suggestions of peasant robustness -- I could hear that Czech flavour echoing in various parts.

Immaculately played with magnificent nuances, the musicians’ ensemble performance was remarkable. The music turned Bourgie Hall into a glorious forest glen of inestimable beauty. Lucky for me, I was in the midst of such lush verdant paradise not lost but found!

In complete contrast was the following and final part of the evening’s program which featured Sergeï Rachmaninov (1873-1943). I can’t begin to describe the great depth of emotion that filled Bourgie Hall. The Elegiac Piano Trio No.2 for Piano and Strings in D Minor, Opus 9 obviously moved us all. We were silent for several seconds after the final No. 3, Allegro risoluto - Moderato movement that concluded the work. Then thunderous applause.

The opus was written shortly after the death of Tchaikovsky. It featured the uber- passionate expressive playing of violinist Yukari Cousineau and cellist Vincent Bernard. But behind sometimes backing them, but more often in the forefront, the piano was brought to life by the virtuoso majesty of pianist Jean Saulnier. The work demanded veteran accomplishment to loudly accent the octaves, master speed-defying traveling up and down the keys that within a second suddenly asked for thrillingly pianissimo trickle-like comb.

At times, deeply sad, awesomely angry, and finally resigned to his friend’s death, Rachmaninov’s astounding composition cried out for the very best musicians in technique, ensemble timing and energetic expressiveness. The slow bowing, rapid fire rhythmic harmonic combinations of striking, plucking, not to mention the long ascensions of huge crescendos that often reached the instruments’ strings’ bridge, had us reeling with excitement and shock; the range of emotion was staggering. Together, these three acclaimed musicians entered the soul of Rachmaninov as if the composer were speaking to us, revealing to the transfixed audience an absolute torment that only music can express. His depth was heard and felt. We left the concert feeling the world is in equal parts bright and light -- as embodied in the Dvorák piece -- and also dark and despairing.

As part of the youth and pros series, Arte Musica Foundation has paired up the best of young Montreal musicians with their veteran counterparts to perform in several chamber music concerts at Bourgie Hall. On Wednesday, November 21st, the audience was treated to the remarkable talents of these four already-acclaimed young musicians who have trained at various Montreal music institutions. These outstanding artists are: Baptiste Rodrigues (violin) and Amina Myriam Tébini (viola) and Janelle Fung (piano). Save for Ms. Fung, each one sat beside their corresponding mentor -- depending on the work performed: Mark Fewer with Mr. Rodrigues and Douglas McNabney with Ms. Tébini, and Matt Haimovitz with guest cellist Philippe Muller from France performing in this exciting mix of marvellous musicians.

Boldly bridging the generation gap, the musicians proved performance quality knows no age boundaries. Each stroke of string and strike of piano key was a magnificent match of composer and performer. Precision timing, breathtaking expressiveness, power, delicacy and clarity could not have moved an inch more into the realm of perfection. And to think these six musicians only had four days to rehearse!

The program opened with Gabriel Fauré’s Piano Quartet No. 1 in C Minor, Op 15. Ms. Fung, who started piano at the age of four, was supremely impressive with her ability to seemingly have her fingers float over the keys; each note seemed to waft into the air like a gentle breeze. Her romantic touch is akin to Arthur Rubinstein’s sound. The strings seemed to emulate water rippling ever so gently with the wind above -- undulating little waves below. All four musicians teamed up as one force. This piece was so smooth and graceful. Segments of swelling grandeur and sweet tranquility created enchanting contrasts in this work of four movements. Fung was so relaxed, yet when time came to attack in formidable crescendo fashion, she did -- with the others bolstering it all. The Scherzo of this work was playful and cocky -- a surprising contrast to the other three movements whose rhythms were imbedded in mature expressiveness.

The program continued with two other works by Brahms who is one of my favourite composers to play because of the soulful wisdom and emotional depth conveyed both by melody and dramatic syncopation. Each movement both in the Piano Quartet No. 2 in A Major and in the B-Flat Major were executed with restrained passion and understanding. One was treated to the broad-spectrum of Brahms compositional flavours: the magisterial, the melancholic, the unbearably heart-breaking, the sweet, the surly and the dashing. The cello long bowing was powerful in the Andante of the B-flat major; its melodic line was reminiscent of Prokofiev’s Romeo and Juliet. What a team of terrific artists!

The emotional range exhibited by these performers whose ability to pull off finales that seemed to be faster than the speed of sound left us gasping out of disbelief. The Allegro, alla breve in the A Major Piano Quartet was a fine example of that alacrity and instrumental vigour. Such exhilaration.

The biography of each of these featured artists who have already received rave reviews internationally is the envy of most emerging musicians. They have already earned world-wide fame.

As far as I am concerned, the veteran pro paired during this concert to his younger ‘version’ was one and the same. Everyone was a pro. Bravo.

Kudos to the prescience of the president of the Foundation, Pierre Bourgie and Isolde Lagacé, General and Artistic Director for bringing together the young and the older to make music in ways that everyone learns and comes out feeling they have all been drinking from the fountain of youth. I certainly felt invigorated after such a thrilling performance.

A prize-winner at the international Mozart Competition in Salzburg in 2002, Ms. McLaren began garnering acclaim early on in her opera singing career. This soprano also walked away with top honours at the Mario Lanza Opera Competition in Italy one year later, and the following year, was admitted into the coveted Jeune Voix du Rhin training program in Strasbourg. She has performed in several opera halls in Europe, especially in France.

Her sensitivity to French lyric -- its romanticism and mercurial moods was most obvious during the all-Debussy program performed inside the lovely Bourgie Hall during the afternoon of October 28th.

Despite having a cold -- she used a handkerchief which was discreetly resting inside piano under its lid -- Ms. McLaren mastered the lengthy program with only or two sniffles. What a pro! The 18 songs did not suffer from this, which speaks to her professionalism and uncanny ability to produce and rise above the obstruction that most certainly affects the voice.

The first two songs (“La Mer est Plus Belle,” and “Beau Soir“) offered impressionist poetry both dark and uplifting, and although Ms. McLaren did not quite capture the nuances, as her upper register was a tad overpowering in some parts, I put this down to opening jitters and the cold. However, the following collection of lovely songs, such as “On the Strand“,“Flowers, Evening “ and “Muted“ were artfully graceful and offered vocal tones and variety that aptly suited the lyric and melody. Moods of sadness, reflection, joy and ominous tidings were stunningly conveyed by Ms McLaren. What’s more, she showed off her playful manner in the song, “Puppets. “ It was capricious and most entertaining.

Poetry by Debussy, Verlaine, Pierre Louys and Paul Bourget just made it all so beautiful, and the fact the poems were translated into English proved satisfying to all who attended.
Accompanying the star singer was Patil Harboyan. Debussy’s spirit flowed from her fingers. Rippling effects and soft nuances to Ms. McLaren’s singing were sublime. She is a consummate pianist who stands out whether playing chamber music, or solo piano. Sought after all over North America, she has performed at the Weill Recital Hall at Carnegie Hall, and has recorded in a collaborative project in London, England. Indeed, Ms. Harboyan is a divine gift to listen to.

Another afternoon surprise that one is rarely privy to -- because he is so busy performing all over Quebec -- was the appearance of the incomparable clarinettist, Jean-Francois Normand. His mastery of tone during any sustenuto -- whether melodically soft or during an increasing ascension to a crescendo -- defied usual clarinet expressiveness. The piece, titled, “Première Rhapsodie pour Clarinette et Piano“ was Debussy at his finest. It was so richly interpreted. Neither ornamentation nor quality of intonation was sacrificed for the sake of speed. In fact, each note resonated like a songbird singing especially for you.

For information on upcoming concerts and tickets, visit: www.bourgiehall.ca. You can also call (514) 285-2000.

Mist, mystery and visions of the sea sublime filled Bourgie Hall on October 18th, as the great French pianist Jean-Philippe Collard entranced us with his all-Debussy program. He performed 12 Preludes, the entire collection from Children's Corner, Estampes (3 pieces) and L'Isle Joyeuse. His boundless technique impeccably mastered the extraordinarily difficult passages in such pieces as 'Les Collines de Anacapri' and 'La Serenade interrompue' from the Preludes' segment. Percussive rapid chords scaled the piano with fortissimo vigour; this is where his affinity for Debussy left us breathless. Watery effects and ominous shadows were created by his ability to move from powerful, solid chording to repetitive triad-like key tickling and terrific trilling.

These sounds particularly captivated us in such pieces as 'La Cathedrale Engloutie' and 'Jardins sous la Pluie.' Impressionistic images floated around the concert hall, bringing to mind the fact that Debussy seemed to crystallize the musical language that preceded him while creating new structural forms full of daring and sudden expressive contrasts evocative of the twentieth-century. A genius whose sensitivity found its voice in music, he lived during a culturally rich period when painting, dance and literature merged together and certainly affected him during his lifetime (1862 -1918). "I wanted from music a freedom which it possesses perhaps to a greater degree than any other art, not being tied to a more or less exact reproduction of nature but to the mysterious correspondences between nature and imagination." Thus wrote Debussy.

Overall, Mr. Collard successfully delved into Debussy's profound compositional colouring. Albeit there were some uneven tempo points that were somewhat exaggerated, along with periodic phrasal endings that merited more attention -- more soft caressing, especially for those gentle endings -- but Debussy is a composer where the lyrical and the classical merge into an ambiguous playing field -- if you will. Still, when Mr. Collard performed 'Voiles,' and again as an encore, he clearly felt at one with the composer. His astounding finale, 'L'Isle joyeuse,' surpassed excellence! What exuberance, what control, what remarkable agility he possesses. His large strong fingers were able to tread ever so daintily over the keys. Mr Collard inspired me with his genius for blending speed with softness in 'The Snow is Dancing.' He created an enchanting world full of falling snowflakes that cocooned us all. I loved it.

Lyrical nuance is key to Debussy. Clearly, Mr. Collard was intent on illustrating this, but at times such expressiveness was not as big as it could have been -- not as convincing as in those strong powerfully dominating moments he ravishingly performed.

Mr. Collard's lanky stature and noble Gaelic manner seemed to defy Debussy's delicacy, yet this internationally acclaimed master of Debussy possesses such a keen understanding of his intricacies. His playing resonates his own personal thoughts recently published in a beautiful little book entitled Elan Marins: Réflexions sur la musique de Claude Debussy. This is a miniature literary gem published under the editorship of Pierre Bourgie of Editions Arte Musica -- the second one of its kind. Printed on wove paper with a limited run of 300 -- of which forty are numbered and signed by the author -- it also contains original etchings by Michael Merrill. This new treasure is rare and enlightening as It beautifully sheds light on composer and pianist in an intimate way.

For information on upcoming concerts and tickets, visit: www.bourgiehall.ca. You can also call (514) 285-2000.