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Browsing: Baroque and Early

Ensemble La Cigale: Up in the Morning Early (Leaf Music)

By Kiersten van Vliet on 1 June 2017 Baroque and Early, CD and Book Reviews, Chamber Music

Up in the Morning Early Ensemble La Cigale Madeleine Owen, lute, theorbo; Sara Lackie, harp; Vincent Lauzer, recorders; Marie-Laurence Primeau, viola da gamba; Sara Tsuji, violin Leaf Music 2017, LM 211, 73 min 17 s. Ensemble La Cigale’s sophomore offering – their first album, Tiorba Obbligata for solo theorbo and accompaniment, was a Prix Opus finalist in 2012–13 – shows sophistication in its simplicity. The Celtic Baroque repertoire on this recording, oft-forgotten in contemporary considerations of the period, actually included some of the tunes and cultured styles that inspired continental European composers from George Frideric Handel to Francesco Geminiani. Returning…

Bernard Labadie

Bernard Labadie Named Principal Conductor of Orchestra of St. Luke’s

By Newswire on 3 May 2017 Baroque and Early

Debuts with the Ensemble at Caramoor Center for Music and the Arts on July 2, 2017 Pablo Heras-Casado to Become St. Luke’s First Conductor Laureate New York, NY, May 3, 2017 — Orchestra of St. Luke’s today announced the appointment of renowned French Canadian conductor Bernard Labadie as its next Principal Conductor, beginning a four-year term in the 2018-19 season. Widely recognized as one of the world’s leading conductors of Baroque, Classical, and Early-Romantic repertoire, Labadie will make his debut with the Orchestra at Caramoor on July 2, 2017 and then appear with the Orchestra at Carnegie Hall on December 7, 2017. As Principal Conductor, Labadie…

Lebrecht Weekly – Yo-Yo Ma, Chris Thile and Edgar Meyer: Bach trios (Nonesuch)

By Norman Lebrecht on 24 March 2017 Baroque and Early, CD and Book Reviews, Chamber Music, Lebrecht Weekly

Hard to know whether to give this confection one star or five. The dominant voice is the mandolin of Chris Thile, an instrument probably unknown to J S Bach who never wrote for it, but used often in modern transcriptions of his works. It sits more comfortably in a Bach score than, say, a tenor sax, but that does not make it remotely authentic. The other instruments at play here are a cello and double bass. What hits the ear from the off are clever, virtuosic trio adaptations of anything from a solo keyboard fugue from the Well-Tempered Clavier to…

Monday Headlines: Review of the Boston Symphony Orchestra at the Maison Symphonique

By Olivier Gentil on 6 March 2017 Arts Industry, Baroque and Early, Canadian Music, Classical, Classical Music, Contemporary, Daily News Roundup, Opera, Quebec Music, Strings, Video of the day, Violin, Visual Arts

On Saturday, the reputable Boston Symphony Orchestra played at the Maison Symphonique. The last time the orchestra visited Montreal was in 1984, more than 30 years ago. Boston Symphony Orchestra: Interview with the conductor, the young 38-year-old Andris Nelsons. [La Presse] Boston Symphony Orchestra: Concert review by [La Presse] Some tough criticism of the Boston Symphony Orchestra at the Maison Symphonique. [Le Devoir] CANADA : The OSM has unveiled a new video on Twitter: https://twitter.com/OSMconcerts/status/838396186407145472 Review of the all-Schubert concert by pianist András Schiff on Friday at the Maison Symphonique. [Le Devoir] The exposition Carnets naturalistes by Denise Blackburn runs until April…

Daniel Taylor and Suzie LeBlanc shine with Handel’s Duos d’Amour

By Kiersten van Vliet on 1 March 2017 Baroque and Early, Concert Reviews, Opera

Saturday at the Chapelle Notre-Dame-de-Bon-Secours long-time collaborators Daniel Taylor and Suzie LeBlanc lit up the night with a dazzling display of virtuosity in a selection of Handel’s greatest arias and duos. Joined by twelve members of the Orchestre symphonique de Longueuil under the baton of Marc David, Taylor and LeBlanc gave a reminder of the enduring allure of these works. To open the evening, David led the OSDL in the Overture and Act III Sinfonia (“Arrival of the Queen of Sheba”) from Solomon. Playing on modern instruments with Dorothéa Ventura on harpsichord, the group had a lively sound and as…

A Glenn Gould debut at the Ladies’ Morning Musical Club

By Arthur Kaptainis on 21 February 2017 Baroque and Early, Concert Reviews, Contemporary, Piano, Romantic

The Ladies’ Morning Musical Club advertises a venerable history with its very name. On Feb. 5 in Pollack Hall the organization paid tribute to its 125th anniversary by asking Stewart Goodyear to recreate Glenn Gould’s Montreal debut recital of 1952. Gould is the quintessentially inimitable pianist, yet Goodyear in Orlando Gibbons’ Pavan and Galliard for the Earl of Salisbury demonstrated straightway a certain affinity with his fellow Torontonian by making the left and right hands seem so indepedent. Perhaps his eagerness to use the full sound of the Steinway was a individual trait. Oddly, Bach’s Partita No. 5 flew by…

Le Beau Danube is 150-year-olds. Back on one of the Greatest Successes from Strauss.

By Olivier Gentil on 20 February 2017 Baroque and Early, Canadian Music, Chamber Music, Classical, Classical Music, Contemporary, Daily News Roundup, Opera, Orchestral, Piano, Quebec Music, Scena Jazz, Strings, Violin

MONTREAL As part of the 8th edition of the biennial Montréal/Nouvelles musiques Festival (MNM), Walter Boudreau will lead La symphonie du millénaire II. In 2000, the performance of the first Symphonie du millénaire, brought together more than 70’000 people. [Le Devoir] Review on the concert of OSTR, highlighting Bach’s works. [La Presse] André Sauvé will join the OSM for a special concert on July 21 and 22. [La Presse] INTERNATIONNAL Le beau Danube is 150-year-olds. Back on one of the greatest successes from Strauss. [La Presse] [Radio-Canada] https://www.youtube.com/watch?v=t38fIJgvWEM The first recording of Bartók’s piano quartet in C minor (1898) was found and published. [Scena…

Artistic director Ted Sperling conducts the audience, Photo: Erin Baiano

With This St. John Passion, MasterVoices Announces There’s a New Evangelist in Town

By Charles Geyer on 17 February 2017 Baroque and Early, Choral, Concert Reviews

PERFORMANCE REVIEW AND TEXT ANALYSIS: MasterVoices’ new English-language version of J.S. Bach’s St. John Passion, translated by Michael Slattery (at Carnegie Hall, February 9, 2017, 7 p.m.). New York City had sustained a twelve-hours’ accumulation of snow. By 7 p.m. on February 9, post-storm sub-freezing temperatures had turned midtown Manhattan’s grid into a treacherous terrain of jagged curbside alpine ranges bounding streets and sidewalks alike of glassy ice. Traffic and transit were hobbled, commerce and commuting statistically decimated. Thus it might seem sheer masochism, or penance, to hazard the elements and venture forth for something so non-essential as choral music.…

Death of the Swede’s tenor Nicolai Gedda

By Olivier Gentil on 10 February 2017 Baroque and Early, Canadian Music, Classical, Contemporary, Daily News Roundup, Opera, Orchestral, Piano, Popular Music, Quebec Music, Strings, Violin

CANADA OSM Pop Serie : Half Moon Run, Bruno Pelletier and Véronique DiCaire will perform with the OSM. [More infos – Radio-Canada] City of Gatineau finance the construction of artists’ co-op. [More infos – LaPresse] Three concerts in Granby for the Valentine’s Day. [More infos – LaPresse] « L’Amossois Charles Trudel, claviériste du Ben Racine Band [remporte le 1er prix] à Memphis lors de l’International Blues Challenge. » [More infos Radio-Canada] « The 2017 [Hindemith] prize, worth 20,000 Euros, goes to the Montreal-born composer Samy Moussa. Based in Paris and Berlin, Moussa, 32, was among the last proteges of Pierre Boulez.» [More infos Slippedisc]…

Ted Sperling, Photo: Laura Marie Duncan

Maestro Ted Sperling’s Polite Passions – from Broadway to Bach

By Charles Geyer on 7 February 2017 Baroque and Early, Choral, Interviews, Musical Theatre

PROFILE: Interview with Ted Sperling, artistic director of MasterVoices (formerly the Collegiate Chorale); PREVIEW: MasterVoices’ new presentation of J.S. Bach’s St. John Passion – Carnegie Hall, February 9, 2017. He’s soft-spoken, genial, elegantly self-possessed. It’s difficult to imagine him indulging in tirades, or hurling withering invective. He’s a nice guy. He’s also brilliant, prodigiously talented, professionally indefatigable, and apparently liked by everyone. Ted Sperling is, in short, a bit of a blessed paradox: probably the most mannerly guest at any dinner party, he is also one of today’s most accomplished, versatile – and, yes, passionate – practitioners of a craft…

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