Critics’ Praise for Francis Colpron
Francis Colpron, musicien jusqu’au bout des ongles, évolue dans ce
répertoire d’une exigence technique époustouflante avec un naturel qui ne cède
jamais, même sous la pression des main les plus virtuoses. Comme à
l’accoutumée, l’interprète «respire» la musique et donne à chaque phrase
un «souffle» extraordinaire. […] le flûtiste utilise toutes les ressources de
son instrument et semble même en inventer de nouvelles.
— Voir (Québec)
… c’est le flûtiste Francis Colpron, un de ces musiciens qui
transcendent littéralement leur instrument pour en faire le canal de
l’expression musicale pure, qui nous enchante le plus. Il y joue de la flûte
traversière aux côtés du violoniste Manfred Kraemer […] Un ravissement.
— Voir (Québec)
Francis Colpron is also Canada’s foremost virtuoso on the recorder.
— Halifax Herald (Canada)
The splendid improvisatory virtuosity of Francis Colpron on recorders, his
rapid-fire staccato notes, his roulades and embellisments as free ans as fascinating
as the flames in a fireplace, made the heart leap in unbuttoned endorsement.
— Halifax Herald (Canada)
The joyous performances are characterized specifically by the impeccable recorder
playing of Francis Colpron and generally by the group’s rhythmic vitality,
cushioned in a rich recording acoustic.
— American Recorder (USA)
As in earlier recordings by this group, Colpron’s liveliness as recroder
player and flutist is one key to the CD’s success (Théâtre Musical), and
another is the extraordinarily clear and lifelike recording.
— Classical Music Magazine (Canada)
Montreal’s Francis Colpron showed himself to be a deft player with a
wonderful ear for small, interior sounds. In Marais’varaitions on “Folies
d’Espagne” an Vaan Eyck’s on “Doen Daphne,” he used
crystalline articulation and gossamer-light runs to enliven the music.
— American Recorder (USA)
Le flûtiste rivalise avec n’importe quelle colorature, tant par son
articulation précise et nette — même dans les vitesses les plus folles! —
que par la manière dont il sait également émouvoir en infléchissant le son et le
souffle dans les moments les plus expressifs des diverses sonates.
— Le Devoir (Québec)
Les Agréments se distinguent par la présence inspirante du flûtiste Francis
Colpron. Dès qu’il intervient, la musique prend du relief, et ses collègues de
l’assurance.
— Le Devoir (Québec)
Quebec’s Early Music scene is probably the most vibrant in the country and
recorder and flute player Francis Colpron is one of the most
prominent figures. The energy he brings to his art is evident in his rapidly
expanding discography as well, of course, as in his vivacious playing.
— Opus (Québec)
Heart-on-sleeve emotion, artificial to a delicious fault, was balanced by the
phenomenal agility of Francis Colpron’s flying fingers on the
recorder in Mealli’s sonata La Cesta.
— Halifax Herald (Canada)
His playing is almost as agile as Michala Petri or Frans
Bruggen’s, but it retains a certain roughness of tone that is very
appealing…
— Ottawa Citizen (Canada)
The eight instrumentalists of Les Boréades de Montréal, enthusiastically directed
from the harpsichord and organ by Eric Milnes, were well prepared and turned in a
solid, stylish performance, with lovely featured work by winds Francis Colpron,
recorders, and Mathew Jennejohn, baroque oboe.
— The Vancouver Sun (Canada)
Colpron’s agility, clarity and control of tone, as well as the musical
forcefulness of his projection of what lies behind the notes, are remarkable. But his
fine understanding and extraordinary ability to elucidate complex musical design for
the mind and encourage the often astonished ear, stupefied by double stops, muted
tones, trimmed pitches and vocal duets with himself, is no less for contemporary
music.
— The Chronicle Herald
He has been recognized these past few years as one of the most talented
instrumentalists of his generation. His qualities and his capacity to innovate both in
the artistic and interpretative spheres have been acclaimed by the public, the critics,
and the cultural authorities alike. In 1991, he founded his own ensemble, of which he
is the artistic director: Les Boréades de Montréal, running a successful series in
Montreal, touring in North America and Europe, and recording many CDs on the ATMA
label.
Besides teaching at the Université de Montréal, he is a regular guest of prestigious
summer music camps such as Amherst in the United States as well as Cammac and
Lanaudière in Quebec. He is first flautist of the Portland Trinity Consort and he is
also a regular guest of other ensembles such as the Studio de musique ancienne de
Montréal, the National Arts Centre Orchestra, Tafelmusik, Opera Atelier, Les Violons du
Roy, and the Nova Scotia Orchestra.
