For Immediate Release
Chants Libres presents the world premiere of its latest
L’eau qui danse, la pomme qui chante et l’oiseau qui dit la vérité
An Enchanted Opera by Gilles Tremblay, composer
Pierre Morency, librettist
Robert Bellefeuille, stage direction
Jean Bard, stage design; Lina Cruz, choreographer; Nicolas Descoteaux, lighting; Geodezik, visual; Marianne Thériault, costumes; Angelo Barsetti make-up; Nouvel Ensemble Moderne, conducted by Lorraine Vaillancourt; 12 Singers
Salle Ludger-Duvernay at the Monument-National
Thursday 19, Friday 20 and Saturday 21 November 2009 8:00 PM
1182, Saint-Laurent, Montreal (Quebec, Canada)
Length: 2:20, with an intermission
Tickets: $40 — $20
Box Office: Monument-National 514-871-2224 / 1-866-844-2172
Montréal, Saturday, August 1, 2009 — Chants Libres, the lyric creation company, under the artistic direction of the creative artist Pauline Vaillancourt, presents the world premiere of its 13th new opera, L’eau qui danse, la pomme qui chante et l’oiseau qui dit la vérité, November 19, 20 and 21 2009 at the Salle Ludger-Duvernay at the Monument-National, in Montreal. An enchanted opera for the whole family, to behold, to savour, to hear, to breathe in, to experience… that exists in a place where magic and fairy tales meet.
This poetic tale is the product of the imagination of two major Quebecois artists: the composer Gilles Tremblay, a veritable pillar of the Quebecois and Canadian musical scenes, who created the soundscape for the Quebec Pavilion at Expo 67 and Pierre Morency, a poet, and theatre, radio and television artist and the author of the magnificent work L’œil américain, with his first opera libretto, based on the tales of the French adventurer Madame D’Aulnoy. Both have received the highest honours for their respective bodies of work. The stage direction is by the theatre director Robert Bellefeuille, who has brought us the remarkable productions of Le conte de Monte-Cristo, Jouliks and La Dame aux camélias. The stage design is by Jean Bard, choreography by Lina Cruz; visual design by Geodezik, lighting design by Nicolas Descoteaux, costume design by Marianne Thériault, and make-up design by Angelo Barsetti.
In the orchestra pit, Lorraine Vaillancourt conducts the 13 performers and the 25 musicians of the Nouvel Ensemble Moderne (increased from 15 to 25 for the occasion), the group’s fifth collaboration with Chants Libres, after Il suffit d’un peu d’air by Claude Baliff, La Princesse blanche by Bruce Mather and Le Vampire et la Nymphomane by Serge Provost.
Onstage, the colourful cast of characters is played by a young and entirely Canadian group of performers: Yby, Jean Maheux (actor-baritone); Belle-Étoile, Marianne Lambert (soprano); Poulane, Marie-Annick Béliveau (alto); Feintise, Michèle Motard (mezzo-soprano); L’Oiseau, Scott Belluz (counter-tenor); Le Roi, Taras Kulish (bass); Chérot, Sylvain Paré (tenor); La Pomme Qui Chante and La Sirène, Claudine Ledoux (mezzo-soprano); Tourterelle, Stéphanie Pothier (mezzo-soprano); Blondine, Anne Saint-Denis (soprano); Petit-Soleil, Julien Patenaude (baritone); Beaujour, Philippe Martel (baritone).
Yby, the narrator, half-bird, half-bee, speaks to us through the Talking Drum, and invites us into an enchanted world in which we discover a story where truth triumphs over deceit, where love must conquer three great trials with the discovery of L’eau qui danse (the water that dances), La pomme qui chante (the apple that sings) and l’oiseau qui dit la vérité (the bird that tells no lies) who, by telling the truth, allows two beings to see themselves differently in relation to one another.
In the City of Wonders, surrounded by creatures stemming from nature, bees, flies, wasps, cicadas, grasshoppers, gnats and other tiny creatures, Queen Blondine gives birth to two boys and one girl, each with a gold star on their foreheads and a small golden chain around their necks, while Princess Brunette, gives birth to a boy beaming with beauty. The Queen Mother Poulane is incensed by the arrival of these magnificent children and sends them to their fates on the seas with the help of her Lady in Waiting, Feintise. Discovered by Corsaire and Corsine, who name them Belle-Étoile, Beaujour, Petit-Soleil and Chérot, they grow up loved and protected from their grandmother’s anger.
After learning at age 16 that they could possibly be the children of important Lords, they decide to leave in search of their past. After three months at sea, accompanied by Tourterelle and Sirène, they arrive at the most beautiful city in the world where they are received by the King. Poulane, furious, discovers Feintise’s betrayal, but Feintise swears that she will find a way to get rid of the children, by placing three trials before them.
Risking his life by travelling to the edge of the world, and thanks to Tourterelle’s precious help, Chérot sets out for l’eau qui danse and la pomme qui chante, who each have an immediate and extraordinary effect on the beauty and spirit of Belle-Étoile. The ultimate test, the discovery of l’oiseau qui dit la vérité, reveals to Chérot and Belle-Étoile that they are not brother and sister, allowing the love that has grown between them to burst forth, the lies to be revealed, and the wondrous occasion to be celebrated.
This production will be broadcast on December 5 at 1 p.m. on Espace musique, Radio-Canada’s music radio network (100.7 FM in Montreal), as part of the Saturday afternoon program hosted by Sylvia L’Écuyer.
The Enchanted Opera is a creation byChants Libres, produced with the support of the Conseil des arts et des lettres du Québec, the Canada Council, the Conseil des arts de Montréal Opera.ca and Monument-National, in collaboration with the NEM.
L’eau qui danse, la pomme qui chante et l’oiseau qui dit la vérité
Enchanted Opera — Production, Chants Libres [world premiere]
Gilles Tremblay, score — Pierre Morency, libretto
Robert Bellefeuille, stage direction
Jean Bard, stage design; Lina Cruz, choreographer; Nicolas Descoteaux, lighting;
Geodezik, visual; Marianne Thériault, costume; Angelo BarsettI, make-up.
Nouvel Ensemble Moderne+, conducted by Lorraine Vaillancourt
Salle Ludger-Duvernay at the Monument-National
Thursday 19, Friday 20 and Saturday 21 November 2009, 8:00 PM
1182, Saint-Laurent, Montreal (Quebec, Canada)
Length: 2:20, with one intermission
Tickets: 40$ — 20$
Box Office: Monument-National 514-871-2224 / 1-866-844-2172
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Media Contact: Marie Marais, Press Officer
514-845-2821 — firstname.lastname@example.org
Fleuves, Champs, Souffles, Musique du Feu, L’Arbre de Borobodur, Le sifflement des vents, Solstices, Aubes, Cèdres en voile, Chants convergents, les vêpres de la Vierge …are titles of works that are at the heart of the music of Gilles Tremblay, a music steeped in nature, a music of poetry and rhythm. (the Greek for flowing is rhein, root of the word rhythm, flowing water being the essence of what represents rhythm for Tremblay). He was one of the first contemporary composers in Quebec, one of the first to present concerts and to teach contemporary music at the Conservatoire de Montréal. Exploration is one of his primary goals and is characteristic of the work of Tremblay. His name can be found in the Petit Larousse.
Gilles Tremblay composed and worked closely with Claude Champagne. During his stay in Europe he met many important composers: Stockhausen in Darmstadt, and in 1959 Amy, Boucourechliev, Ferrari, Mâche, Malec and Xénakis, during a workshop at the ORTF under the direction of P. Schaeffer. He was awarded the prix Calixa-Lavallée in 1967 for his soundscape at the Quebec Pavilion. In 1992, he was awarded the prix Denise-Pelletier, the highest honour awarded by the Government of Quebec for performers. Gilles Tremblay is a Chevalier de l’Ordre des arts et des lettres de la République Française. In 2007, l’Académie des sciences et des Beaux-arts de France awarded him the Prix de la composition musicale de la Fondation Cino Del Duca 2007 for his body of work.
An Officer of the Order of Canada, Knight of the Order of arts and letters of the French Republic, Pierre Morency is known as one of the most important writers in contemporary Quebec. He is a theatre, radio and television artist and a poet whose poetry has obtained international recognition. Pierre Morency is also passionate ornithologist. As of 1967 he was able to live by his pen and published his first collection of poems, Poèmes de la froide merveille de vivre, followed by many others. With Radio-Canada he wrote and hosted the series Les Grands aliments, Bestiaire de l’été, L’Oeil américain, La Vie entière and À l’heure du loup. The appearance of his book À l’heure du loup in 2002 marked the beginning of a new period for him, in which he began to blend narration with philosophical meditation and poetry. Pierre Morency has also worked in the theatre having written Les Passeuses and various plays for children while also adapting the play Charbonneau et le Chef. In 1989, with the publication of L’Oeil américain, histoires naturelles du Nouveau Monde (Boréal/Seuil) he began a series of pieces about his experiences as a naturalist and observer, works with a literary approach to plants, birds and the landscapes of Quebec. His work has received numerous honours, among them The Duvernay Prize in 1991 and the Athanase-David Award in 2000. He has helped found two magazines, Inédits and Estuaire, the Union des écrivains québécois, and was the vice-president of the Rencontre québécoise internationale des écrivains.
An actor, author and director, Robert Bellefeuille is a versatile theatre artist. A founding member of the Théâtre de la Vieille 17, he was the Artistic and General Director of the company from 1979 to 2006, for who he has directed 15 productions. As an actor he has performed in over 40 productions. Robert Bellefeuille has been awarded the Prix Théâtre Le Droit and the Prix d’excellence artistique Théâtre Action, and more recently he received the Prix Marcus, for his major contribution to the development of Franco-Ontarian theatre. Since 2006, he has been the Directing Program Coordinator for the National Theatre School, as well as being among the invited professors and directors. In Montreal, he was the director of Edmond Dantès and Le Comte de Monte-Cristo by Alexandre Dumas, Sr. for the Théâtre Denise-Pelletier, Jouliks by Marie-Christine Lê-Huu for the Théâtre d’Aujourd’hui and on tour throughout Quebec, La Dame aux camelias for the Théâtre du Nouveau Monde and Vincent river by Philip Ridley for the Théâtre de Quat’Sous.
Jean Bard has been a set designer since 1989 and has created designs for the repertory theatre as well as for new theatre, including Les femmes savantes by Moliere at the Théâtre Denise-Pelletier, directed by Martin Faucher and La Charge de l’orignal épormyable by Claude Gauvreau and Wozzeck by Alban Berg, directed by Lorraine Pintal, L’hôtel du libre-échange by Georges Feydeau, directed by Normand Chouinard and L’échange by Paul Claudel, directed by Martin Faucher, Don Quichotte by Cervantes, adapted by Wajdi Mouawad and Dominic Champagne, all produced by the TNM. Among the new works, Le collier d’Hélène by Carole Fréchette, directed by Martin Faucher and Des fraises en janvier by Evelyne de la Chenelière, directed by Philippe Soldevila, both produced at the Théâtre d’Aujourd’hui, and Le ventriloque by Larry Tremblay, directed by Claude Poissant, produced by Théâtre PàP at Espace Go. He has also created many designs with Robert Gravel.
The Montreal based choreographer Lina Cruz has worked in the world of dance since 1975, and has presented her work in Canada, Europe, the United States and Latin America. In 2003 she founded her company, Fila 13Productions after many years as an independent choreographer. She created Coquille d’oeil, which combined dance with contemporary music. The piece toured extensively and left its mark when it was filmed for the Bravo Channel series Dance with me. Another piece by Fila 13 called K-5, was created at the Agora de la danse in Montreal in February 2008, toured to Madrid for the Danza Festival and was filmed by the Montreal filmmaker Mireille Dansereau. This is her third collaboration with Chants Libres.
Ever since graduating from the Option Théâtre program at the CEGEP de Ste-Thérèse in 1992, Nicolas Descoteaux has already created more than sixty lighting designs. By putting his technical expertise to work in his designs, he has collaborated with many internationally renowned creators; Robert Lepage, Marie Chouinard, Kristian Fredric, Denis Marleau, Daniele Finzi Pasqua; and more recently his work with the Cirque Eloize and Cirque du Soleil has made him one of the most important lighting designers for theatre and events in Montreal. He has been nominated for design awards by the Académie du Théâtre in 1995 and 1998 and received grants from the CALQ. He continues to work in Montreal and internationally.
Geodezik [Olivier Goulet and Étienne Cantin] is a multimedia design company that specializes in video production, and system design for stage shows, public events and permanent installations. Geodezik creates original content and new technology (from project design to final showing) with the help of a community of visual artists and stage and new media professionals. Recent projects include: Tina Turner, Pink, Zaia, Cher, Juna Awards 2008, ECMA 2008, The Governor General Awards 2008, Linkin Park tour 2008, Butterfilies
Marianne is a recent graduate (2008) of the design program at the National Theatre School of Canada, directed by Danièle Lévesque. During her studies she has worked with artists such as Robert Bellefeuille et Jim Mezon. She also has a BA from UQAM in criticism and dramaturgy (2005). Following her training, she has worked alongside the designer Marie-Chantale Vaillancourt and designed the costumes for the opera Cosi fan tutte by Mozart for the director François Racine at the Ateliers lyriques de l’Opéra de Montréal in March 2009. In May 2009, she also designed the costumes for Le Grand Voyage de Petit Rocher, produced by the Théâtre de la Vieille 17, directed by Robert Bellefeuille. In October, she designed the costumes for Artères Parallèles,by Annick Lebebvre, directed by Maude Gareau.
Originally trained as a visual artist, Angelo Barsetti quickly became a well-known make-up artist in the dance and theatre worlds. He has worked closely with inspired and inspiring directors such as André Brassard, René-Richard Cyr, Claude Poissant, Eric Jean, Brigitte Haentjens, Denis Marleau and Wajdi Mouawad. He has also been a faithful collaborator with the choreographers Sylvain Emard, Danièle Desnoyers and Louise Bédard for almost 20 years. His make-up work has helped reveal the essence and the intensity of an impressive number of characters stemming from Québecois drama and dance. He has also taught the art of stage make-up to the acting students at the National Theatre School of Canada. Presently, he is devoting more and more of his energy to photography.
Founded in 1990 by the Soprano Pauline Vaillancourt, in association with Joseph St-Gelais and Renarld Tremblay, Chants Libres offers an operatic repertoire which reflects the colours of modernity, that constantly explores new techniques and approaches to the vocal arts, and that works in close collaboration with creators and researchers in all disciplines. The company has created 12 operas: Alternate Visions (2007, virtuel’opera), music by John Oliver, based on the libretto by Genni Gunn; L’Archange (2005, oper’installation) by Louis Dufort and Alexis Nouss; Pacamambo l’opéra (2002) by Zack Settel and Wajdi Mouawad; Manuscrit trouvé à Saragosse (2001) by José Evangelista and Alexis Nouss; L’Enfant des glaces (2000, électr’opéra) by Zack Settel and Pauline Vaillancourt; Lulu, le chant souterrain (2000, techn’opéra) by Alain Thibault and Yan Muckle; Yo soy la desintegracion (1997) by Jean Piché and Yan Muckle [Prix Opus 1999, Événement discographique de l’année]; Le Vampire et la nymphomane (1996) by Serge Provost and Claude Gauvreau [Prix Opus 1996, Création de l’année]; Chants du Capricorne (1995) by Giacinto Scelsi and Pauline Vaillancourt [Prix de musique contemporaine Québec-Flandres, Belgique 1996]; La Princesse blanche (1994) by Bruce Mather and Renald Tremblay; Il suffit d’un peu d’air (1992) by Claude Ballif and Renald Tremblay; Ne blâmez jamais les bédouins (1991) by Alain Thibault and René-Daniel Dubois. Chants Libres has recorded five CD’s, three DVD’s and offers professional workshops for singers. L’eau qui danse, la pomme qui chante et l’oiseau qui dit la vérité is the company’s 13th creation.
In addition to being recognized internationally as a singer of contemporary and traditional works, Pauline Vaillancourt is a founding member of Chants Libres. She has conceived, directed and performed in many of its productions of new forms of opera throughout the world. She was the artist in residence at the Musée d’art contemporaine de Montréal, at the Studio du Québec in Paris and in New York. In her career she has won the Prix d’excellence Victor-Martyn-Lynch-Staunton from the Canada Council for the Arts and the Prix d’interprète de musique contemporaine Flandres-Québec. She has been a member-researcher at Hexagram in Montreal since 2006.
Founded in 1989 by pianist and conductor Lorraine Vaillancourt, the Nouvel Ensemble Moderne (NEM) is a 15 member chamber orchestra that offers striking interpretations of today’s music by granting it the time and attention it deserves. Their repertoire, nurtured on the classics of the 20th century, reflects the diversity of present day aesthetics; it incorporates music from all continents and is committed to giving premieres of new works.
The NEM’s concerts, public rehearsals, the international Forum of Young Composers (since 1991) and its conferences with composers are all exceptional moments for communication and reflection. Ensemble-in-residence at the Faculty of Music of the Université de Montréal, the NEM has performed in Canada, the United States, Mexico, Europe, Japan, Australia and Singapore. The NEM has recorded 22 compact disks.
Conductor and pianist, Lorraine Vaillancourt is the founder and Artistic Director of the Nouvel Ensemble Moderne (NEM), the first permanent orchestra in Canada dedicated exclusively to the contemporary repertoire in Canada, which celebrated its 20th anniversary in 2009. A member of the Royal Society of Canada, president of the Board of the Conseil québécois de la musique from 1998 to 2001, co-president of the Prix Art-Affaires in 2002, Lorraine Vaillancourt was also a member of the board of the Conseil des arts et des letters du Québec from 2001 to 2006.
A versatile artist, Jean Maheux has developed a following as a dancer, singer and actor. He first gained prominence for his astounding portrayal of Don Quichotte in L’Homme de la Mancha. His efforts were rewarded with a nomination for Best Actor by the Académie québécoise du théâtre. He has played Antoine in Antoine and Cléopâtre directed by Lewis Furey for the Théâtre du Nouveau Monde, was in the cast of Toutefemme by Peter Karpati for L’Espace Go, L’Iliade based on Homer for the Théâtre du Nouveau Monde, Du vent entre les dents by Emmanuelle Jimenez for the Théâtre d’Aujourd’hui, Billy l’Éclopé by Martin McDonagh for the Compagnie Jean Duceppe and Imago by Marie-Christine Lê-Huu to name only a few. He has collaborated with Pauline Vaillancourt on three opera creations for Chants Libres: Le Vampire et la Nymphomane by Serge Provost and Claude Gauvreau, L’Enfant des glaces by Zack Settel and Pauline Vaillancourt and L’Archange by Louis Dufort and Alexis Nouss.
As a finalist for the Atelier lyrique de l’Opéra de Montréal, Marianne Lambert was a Grand Prize winner of the 20th International Voice Competition in Marmande (France). Her 2008-2009 roles include, Marie-Anne (O mon bel inconnu) at the Rennes and the Metz Opera, Despina (Cosi fan tutte) for the Atelier lyrique de l’Opéra de Montréal, two solo recitals in Perpignan, France, Belle-Etoile (La Pomme qui chante, l’eau qui danse et l’oiseau qui dit la vérité) for Chants Libres, as well as the Fairy (Cinderella) at the Montreal Opera and Cécile (Lucas and Cécile) for the Agence Mule. Displaying keen interest in contemporary music, she has trained with Pauline Vaillancourt, was a soloist at the Luigi Nono Festival, and has recorded Hozhro by Michel Gonneville with the Bozzini Quartet.
Marie-Annick Béliveau has premiered more than twenty works, and can be heard regularly on Radio-Canada, CBC Radio and Radio-France. She has recently performed at the Festival des musiques de création in Jonquière, Quebec, performing Pierre Boulez’ celebrated Marteau sans Maître for Code d’Accès. At the Opéra National de Montpellier she premiered the title role in Rimbaud, la parole libérée by Marco-Antonio Pérez-Ramirez, and has performed Jessica in John Estacio’s Frobisher at the Banff Centre for the Arts, in SMCQ’s colossal production of Golgo(t)ha by Walter Boudreau, in Mahler’s Das Lied von der Erde with the Ottawa based Ensemble Fusions, in Dido and Aeneas by Purcell with the Telemann Ensemble, in Il Tramonto with the Alcan Quartet, in R. Murray Schafer’s Beauty and the Beast with the Molinari Quartet, Celos for solo voice by Marco-Antonio Pérez-Ramirez and Puff IV by Takashi Tokunaga in Royaumont for Voix Nouvelles.
Michèle Motard is a versatile artist who has performed in Les Trois Sœurs by Chekhov, directed by Wajdi Mouawad, at the Théâtre du Trident in Québec City, the Théâtre du Nouveau Monde in Montreal as well as in many cities across France. The play will be remounted in Mosow in 2010. She has also performed Pierrot Lunaire by Schoenber, Microphone Songs by Michel Gonneville, and Pesma by Ana Sokolovic with the Ensemble Contemporain de Montréal and Codes d’Accès. With Les Enfants Terribles, she created an opera-performance by Jimmie Leblanc, as well as other pieces for young composers. She will be the female lead in the production of L’Enfant des glaces in New York, produced by Chants Libres.
The Canadian countertenor Scott Belluz performed the role of Oberon in Britten’s A Midsummer Night’s Dream at the Banff Centre for the Arts, Bach’s Magnificat with the Ottawa Choral Society and the role of Andronicus in Handel’s Tamerlano for Opera in Concert with the Arcadia Ensemble, Athamas in Handel’s Semele with Pacific Opera Victoria as well as the title role in Omar Daniel’s The Shadow with Tapestry New Opera in Toronto. He also played the role of Medoro in Handel’s Orlando in Marseille, Tarrascon at the Festival D’Antibes, Pergolesi in Stabat Mater in Aix-en-Provence, and recitals in St.Remy de Provence, Marseille, Avignon and Toulon.
Born in Montréal and of Ukrainian origin, Taras made his European debut (France and Belgium) in the title role of Don Giovanni directed by Gérard Corbiau and broadcast on TV5. Among his successes let us mention Leporello in Don Giovanni in Vancouver, Victoria, Aspen, Winnipeg and Ottawa, the title role in Les Noces de Figaro in Regina and Vancouver; Colline in La Bohème in Vancouver, Calgary, Edmonton, Ottawa and Winnipeg, the King in Aida in Vancouver, Montreal, Calgary and Edmonton, Ferrando in Il Trovatore in Calgary and Ottawa, as well as many other roles. He sings with the Orchestre Symphonique de Montréal, th Minnesota Orchestra, L’Orchestre Métropolitain, the Vancouver Bach Choir, the Vancouver Symphony Orchestra, the Edmonton Symphony Orchestra and the Victoria Symphony.
Under the direction of conductors like Yannick Nézet-Séguin, Jean-Marie Zetouni, Julian Wachner, Boris Brott, and Cristian Gort, Sylvain Paré has performed many roles including Tamino in the Magic Flute, the Husband in Les Mamelles de Tirésias by Poulenc, Andrès in Wozzeck by Berg, and Mason in The Maiden Tower by Chen. He has performed at the Almafi Festival in Naples, the McGill Opera, the Banff Centre, the Théâtre du Nouveau Monde (TNM) and for Oper’actuel 08 produced by Chants Libres. After studying performance at McGill University, he eventually discovered his mentor Norma Newton in New York City.
Claudine Ledoux is a graduate in performance from McGill University where she won many prizes and awards. In a career that continues its ascent, the critics have lauded her timbre, the intensity of her interpretation and a musical instinct which allows her to sing a varied repertoire. In November 2001, she created the role of Emina in the opera Manuscrit trouvé à Saragosse by José Evangelista, produced by Chants Libres. She has also performed the role of Glacha in Katya Kabanova for the Opéra de Montréal, as well as the role of the Confidente in Elektra, with the Orchestre Symphonique de Montréal, conducted by Charles Dutoit. Particularly active in the field of sacred music, she has performed with many different ensembles in Québec and Ontario, most notably for the Chapelle de Montréal alongside Yannick Nézet-Séguin, for whom she has sung on many occasions.
In Europe, Stéphanie has played Donna Elvira (Don Giovanni), Suor Dolcina (Suor Angelica), the Cinquième servante (Elektra) and Salomé by Strauss. In Québec, she has performed as a soloist for the Chapelle de Montréal, with the Chœur Polyphonique de Montréal, Opus Novum, the Chœur Classique de L’Estrie and the Ensemble Amadeus, at the Festival de musique sacrée de l’Outaouais, and at the Concerts d’été de la Cathédrale de Chicoutimi as well as the Festival Orgue et Couleurs.
Anne Saint-Denis has performed in recitals for the Pavillon des Arts de Ste-Adèle, Maison Trestler, MBA de Mtl and Radio-Canada. In opera, she has performed Mozart’s Don Giovanni (Zerlina) in Loches and Cosi Fan Tutte (Fiodiligi) in Orleans, France (Opéra-Tréteaux), Wanda in La Grande Duchesse de Gerolstein by Offenbach for the Opéra français de New York, Musetta in La Bohème by Puccini for the Opéra de Québec and Mimi for a tour with the Jeunesses Musicales du Canada and the Atelier lyrique de l’Opéra de Montréal. For the Opéra de Montréal she has performed la Première Dame in Die Zauberflöte by Mozart, Miss Jessel in The Turn of the Screw by Britten, La Femme étrangère in The Consul by Menotti and Ellen in Lakmé by L. Delibes. During the Coups de Théâtre 2000 in Montreal, she created the role of La Chatte d’Espagne in L’Arche, an opera for children by Isabelle Panneton and Anne Hébert and La Mère in Hansel and Gretel by E. Humperdinck with the Orchestre Métropolitain de Montréal.
The baritone Julien Patenaude has performed lead roles for Opera York, the Centre d’Art d’Orford, the Brevard Music Center in North Carolina, Opera Garden in Aberdeen, Scotland, and throughout Canada with Les Jeunesses Musicales du Canada. He has played Figaro in Le nozze de Figaro, Leporello in Don Giovanni, Papageno in Die Zauberflöte, Don Alfonso in Cosi fan tutte, Cyd in Albert Herring, le père in Hansel und Gretel, Frank in Die Fledermaus and Ben in Le téléphone. In 2008, he became a founding member of the Quartom Vocal Quartet.
The bass-baritone Philippe Martel hold a BA in performance from McGill University where he performed several roles including the Commander in Don Giovanni by Mozart and King Cadmus in Semele by Handel. He has also performed the roles of Colline in La Bohème by Mozart and Fauré, la Passion selon Saint-Jean and The Messiah by Handel, among many others. We can see him perform next in the Messe du Couronnement by Mozart as well as the Messe en Si mineur by Bach. He has been singing for many years with La Chapelle de Québec (Violons du Roy) and the Studio de Musique Ancienne de Montréal.
Media Contact: Marie Marais — 514-845-2821 — email@example.com
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