Everybody knows how incredibly young Mozart was when his genius talent began to show. He was just a child when he wrote sonatas and symphonies, and already the world of opera was calling to him, drawing him in. As soon as the opportunity presents itself, he is composing scenic works, going from food-opera in La Finta semplice, to singspiel in Bastien und Bastienne, as well as opera seria, about all things Antiquity, with Ascanio in Alba, Lucio Silla or Mitridate, re di Ponto. Everywhere, his mastery of the bel canto and his use of a unique expressive palette can be heard, which he then wraps in sumptuous orchestrations.
Born in Saguenay, Québec, Canadian soprano Marie-Eve Munger enjoys a flourishing career in both North America and Europe. She earned a solid reputation for her strong stage presence – “she stole the show” (The Washington Post) – and for her voice “warm, lyrical” (The Associated Press) with “glassy-clear coloratura” (The New York Times).
Recent successes include her debut with Lyric Opera of Chicago in Massenet’s Cendrillon, Teatro alla Scala, Barcelona’s Liceu and Festival d’Aix-en-Provence in Patrice Chéreau’s production of Elektra, La Monnaie with the world premiere of Pinocchio, Opéra de Marseille in My Fair Lady, Opéra de Montréal in Roméo et Juliette, Munich’s Bayericher Rundfunks orchestra in Lakmé and l’Enfant et les Sortilèges, Opéra de Lausanne for Ariadne auf Naxos and My Fair Lady, Chicago Symphony Orchestra in L’Enfant et les Sortilèges, and Paris Opéra Comique in Le Pré aux Clercs, Fantasio and Bohème. She worked with conductors such as Esa-Pekka Salonen, Kent Nagano, Sir Andrew Davis, Symeon Bychkov, Paul Daniels, Paul McCreesh.
Marie-Eve Munger earned her master’s degree from the Schulich School of Music at McGill University. She won first prize at the Marmande International Voice Competition in 2007 and won the Choquette-Symcox award from the Jeunesses Musicales du Canada in 2012.
Founded by Francis Colpron in 1991, Les Boréades focuses on early music. The ensemble has chosen an interpretative approach in keeping with the spirit of the Baroque era, by adhering to the rules of performance practice of the past and playing on period instruments. Critics and audiences alike in Canada and abroad have been unanimous in hailing the group’s energy and spontaneity as well as its theatrical, expressive and elegant playing, indicative of a unique flair for Baroque aesthetics.