Mezzo-soprano Marjorie Maltais is rapidly earning an excellent reputation on both concert and operatic stages in Canada and beyond.
A native of Clermont, Quebec, Marjorie gained attention as a finalist at the Canadian Opera Company’s Centre Stage Competition for her dynamic stage presence and “fireworks of her remarkable coloratura” and won First Prize at the Ottawa Choral Society’s New Discoveries Competition in 2016.
Marjorie is a frequent guest artist with Toronto’s Voicebox:Opera in Concert and has appeared as a guest soloist with Boise Philharmonic, Montreal’s Orchestre Metropolitain , Milwaukee Symphony Orchestra, and Edinburgh International Festival with National Youth Orchestra.
Highlights this season for this engaging young artist include Mrs. Gobineau in The Medium with Victory Hall Opera in Charlottesville, Virginia, Messiah with Elmer Iseler Singers, Bach’s Magnificat with Thirteen Strings, Isolier in DAM Concert Opera ‘s production of Rossini’s Le Comte Ory, and the premiere of Ian Cusson’s song cycle “ Le récital des anges” (poetry by Emile Nelligan), at Richard Bradshaw Amphitheatre, Canadian Opera Company.
In 2019, Marjorie debuts with Boston Early Music Festival in performances of “Versailles:Portrait of a Royal Domain”, with operas of Charpentier and Lalande.
Recognized for his depth of expression, refined musical sensitivity, rare vocal agility, and singular beauty of tone, Philippe is currently enjoying an international career specializing in baroque repertoire . He has worked with many established ensembles, including Tafelmusik, les Violons du Roy, Arion Baroque, the Calgary Philharmonic Orchestra, L’OSQ, Les Boréades, Le SMAM, Ex Tempore, La Bande Montréal Baroque, Le Palais Royal and Mannheimer Hofkapelle. Philippe received a 2016 JUNO Award for his participation in Las Ciudades de Oro with L’Harmonie des Saisons under ATMA Classique Label. Upcoming highlights in early 2018 include a return to Belgium for a recording under the CPO label with Ex Tempore. He will also join Les Talens Lyriques (directed by Christophe Rousset) for concerts in Paris and Oslo
In the field of early music and oratorio, baritone Clayton Kennedy has appeared as a soloist on several occasions with SMAM, as well as Ensemble Caprice, the choir of the church of St. Andrew and St. Paul, Bande Montréal Baroque, I Musici de Montréal and the OSM, and frequently as part of the Arte Musica Foundation’s Complete Cantatas of J.S. Bach Series. Most recently, he was Jesus in Bach’s St. Matthew Passion with Paul Halley and the University of King’s College choir in Halifax, and at the time of this writing, is a semi-finalist in the inaugural Linn Maxwell Keller Bach Distinguished Musician Award, in Grand Rapids Michigan. He also premiered the titular role in John Plant’s contemporary opera “I Will Fly Like a Bird: a Tribute to Robert Dziekanski”, receiving warm reviews from Opera Canada Magazine and the Chronicle Herald. He joined La Nef for an album and tour of Quebec and the Maritimes entitled “Sea Songs & Shanties”, and contributed to the soundtracks of Ubisoft’s “Assassin’s Creed” video games. Clayton also sings with the Congregation Shaar Hashomayim choir on Leonard Cohen’s album “You Want It Darker”. He recently collaborated with composer Sebastian Hutchings in premiering and recording the song cycle, “Fury”.
Born in Rome in 1961, Alfredo Bernardini moved to The Netherlands in 1981 to specialize in baroque oboe and early music with, among others, Bruce Haynes and Ku Ebbinge. In 1987 he received his soloist diploma from the Royal Conservatory of The Hague. In 1985 he was a member of the European Union Baroque Orchestra in its first year of existence. He has since performed all over Europe, in Russia, U.S.A., Canada, Japan, China, Korea, Malaysia, Egypt, Israel, South America and Australia as a member of prestigious baroque ensembles such as Hesperion XX, Le Concert des Nations, La Petite Bande, The Amsterdam Baroque Orchestra, Das Freiburger Barockorchester, The English Concert, Bach Collegium Japan, Balthasar Neumann Ensemble and others. He has played in more than 100 recordings. In 1989 he founded the ensemble ZEFIRO together with the brothers Paolo and Alberto Grazzi. His recordings with Zefiro have won important prizes such as the Cannes Classical Award and the Diapason d’Or de l’Année 2009. As a director, he has worked with orchestras in Italy, France, Germany, Spain, Portugal, Belgium, Holland, Ireland, Denmark, Norway, Poland, the UK, Sweden, Canada, Cuba, Australia, Israel and with the European Union Baroque Orchestra. In January 2013 he was counsellor and director of the first baroque orchestra project of “El Sistema de Musica” of Venezuela. His research on the history of woodwind musical instruments has resulted in several articles published by important international magazines. From 1992 to 2015 he taught baroque oboe at the Conservatory of Amsterdam and since 2014 he is professor at the Mozarteum University of Salzburg. He also taught from 2002 to 2009 at the Escola Superior de Musica de Cataluña in Barcelona. He has also been guest teacher in music academies and summer courses in Italy, France, Spain, Portugal, Germany, Austria, Denmark, Israel, Australia, Canada, Venezuela, Cuba and the U.S.A..
Philippe Bourque, choir master and conductor, pianist, pedagogue and music director. A versatile and passionate musician of choral music, he was appointed Artistic Director of St. Lawrence Choir in March 2014. He is already hard at work on new concert projects and the planning of unique choral collaborations.
An unwavering pedagogue, Philippe is convinced of the necessity to invest in the future generations. He has been teaching at Vanier College since 2010 where he is active as choir master and aural training instructor. He has also worked with the choir of the Vincent-d’Indy music school and the F.A.C.E. Young Singers. He also gives private lessons in conducting and is regularly invited as a jury member or clinician to countless festivals both here and abroad.
Since 2006, Philippe Bourque has directed the choir and instrumental ensemble of the Protestant Church of Terrebonne-Mascouche, overseeing the musical and liturgical programming for the church’s Sunday celebrations. He was also artistic director of the Choeur du Musée d’art de Joliette (2008-2014), the Petits Chanteurs de la Cathédrale (2005-2007), the Choeur en Jazz vocalists (2006-2009) and McGill’s Simply Sweetly (now Les Muses Chorale, 2007-2011).
Philippe Bourque studied choral and orchestral conducting under Julian Wachner, Robert Ingari, Alexis Hauser and Ivars Taurins and graduated from McGill with distinction. He is the recipient of a Lieutenant-Governor’s Award while studying at the Vincent-d’Indy music school and received McGill’s Constance-Willney Music Scholarship and the Social Sciences and Humanities Research Council of Canada Fellowship (SSHRC).
St. Lawrence Choir, a mixed-voice ensemble under the direction of Philippe Bourque, performs music from the classical choral repertoire, including contemporary works by Canadian and other composers. In addition to performing in its subscription season concerts, the choir has appeared at the International Music Festival of Lanaudière, the Festival Montréal en lumière and the Montreal Bach Festival. It has also worked on collaborative projects with the Cantata Singers of Ottawa, the Montreal Choral Institute, Vanier College and the Choeur du Musée d’Arts de Joliette.
Founded in 1972 by Iwan Edwards, St. Lawrence Choir performed for many years with the Montreal Symphony Orchestra as a principal component of the MSO Chorus; it participated in numerous concerts in Montreal, Toronto, Ottawa, Philadelphia, Saratoga Springs and New York, as well as in several recordings.
St. Lawrence Choir is proud to have presented works by Canadian composers such as Victor Davies, Ruth Watson Henderson, Jacques Hétu, Jean Laplante, Pierre Mercure, Donald Patriquin, Imant Raminsh, Bruce Ruddell, Patrick Wedd, Gilles Tremblay (premiere of Avec), Alain Gagnon (Canadian premiere of Chansons d’Orient, 2011), and Petros Shoujounian (world premiere, Messe et Requiem, 2015), as well as by Swiss composer Ivo Antognini (world premiere of Brink of Eternity, 2011).
Multi-disciplinary artist, Marie-Nathalie Lacoursière has been the artistic co-director for the Nouvel Opéra, and associate director for the Toronto Masque Theatre for 15 years. She has staged, directed and choreographed many operas, both old and new, among which The Man who Married Himself (Juliet Palmer), Europa and AEne and Dido (James Rolfe) and all of Purcell’s stage music. She has created many shows, including the world premier of Lully’s Ballet Royal de l’Impatience for the Montreal Baroque festival, and les Indes Galantes ou les automates de Topkapi and La Veuve Rebel for the Saint-Riquier festival in France. Marie-Nathalie is a baroque dancer known for her commedia dell’arte characters. She has been invited to dance at the Nice opera, and at the Boston Early Music Festival among others.
Violinist Olivier Brault, from Terrebonne, Lanaudière, brings his lively enthusiasm combined with valuable expertise to the field of baroque music as in Canada, the United States or Europe. Director of Sonate 1704, concertmaster of Apollo’s Fire Cleveland’s baroque orchestra, he works also as principal violin and soloist with many Montreal based ensembles including the Ensemble Caprice, Les Boréades de Montréal, the Quatuor Franz Joseph, Les Idées heureuses, the Studio de musique ancienne de Montréal, La Nef, Les Voix humaines and La Bande Montréal baroque. Since 2007, he holds a doctorate from the Faculté de musique de l’Université de Montréal on “Music for Violin and Continuo in Eighteen-Century France” and has earned a solid reputation as a specialist in the field. He has participated in more than sixty recordings, on Atma, Analekta, Avie, earlymusic.com, XXI and Teldec; many of them award-winning. In addition to be a sensitive, rigorous and versatile musician, clever improviser, his curiosity have led him to experiment dance and theatre. Olivier Brault regularly gives workshops and masterclasses at the Conservatoire de musique de Montréal, McGill University, Case Western Reserve University (Cleveland, U.S.A.) and Oberlin Conservatory of Music (U.S.A.). In 2011 he had received the medal of the Assemblée Nationale du Québec for his cultural contribution to his Nation. He is a member of the Conseil québécois de la musique, of Culture Lanaudière, Équiterre and Greenpeace.
Critically acclaimed for her exceptional musical mastery, Mélisande Corriveau is a specialist in the interpretation of early music. ”[She] belongs to a new generation of players bringing formidable performing skills and knowledge of period practices…” (Gramophone). Reviewers have written: ”her playing is virtuosic, delicate and elegant…sensitive and polished to a turn…her interpretations elicit an array of emotions…colors and sonorous textures”.
A frequent featured artist at the most prestigious festivals, she is constantly in demand for performances, tours and recordings both in North America and Europe, as a solo artist, and with numerous renowned ensembles. She is a core member of ensemble Masques, Les Voix Humaines consort of viols, Bande Montréal Baroque, Sonate 1704 and Les Boréades.
Her discography numbers over 40 titles on the ATMA Classique, Analekta, Harmonia Mundi, Paradizo, Zig‐Zag Territories and Alpha labels. Her recent duo release with harpsichordist Eric Milnes, ”Pardessus de viole” featuring the 18th century French repertoire for the pardessus de viole, was recently named among the 10 best classical discs of the year (2016) by CBC Radio, and selected as Classical CD of the Year by Radio Canada.
She is co-founder and Artistic Director of the ensemble L’Harmonie des saisons, whose debut CD release ”Las Ciudades de Oro” (Cities of Gold) was the 2016 winner of the coveted Canadian JUNO Award, for best classical CD of the year in the vocal and choral category.
In 2014, Mélisande Corriveau received a Doctoral Degree with honors from The University of Montréal in performance on the pardessus de viole, becoming one of the few performers in the world specializing on the instrument.
First prize winner in the 2012 Musica Antiqua Bruges International Harpsichord Competition, Canadian harpsichordist and organist Mark Edwards is recognized for his captivating performances, bringing the listener “to new and unpredictable regions, using all of the resources of his instrument, […] of his virtuosity, and of his imagination” (La Libre Belgique). Since 2016, he is Assistant Professor of Harpsichord at Oberlin Conservatory.
He has given solo recitals at a number of prominent festival and concert series, including the Utrecht Early Music Festival, Bozar (Brussels), the Montreal Baroque Festival, and Clavecin en concert (Montreal). He has had concerto performances with a number of award-winning ensembles, including Il Gardellino (Belgium), Neobarock (Germany), and Ensemble Caprice (Canada). Also an active chamber musician, he is a founding member of l’Ensemble Bach de Montréal, and has performed with Les Boréades de Montréal, Il Pomo d’Oro, Pallade Musica, and Flûtes Alors!.
Passaggi (ATMA 2013), his first CD with the Canadian recorder player Vincent Lauzer, was reviewed warmly and was nominated for an ADISQ award. His début solo CD, Orpheus Descending, will be released in spring 2016 on the early-music.com label. His performances have been broadcast by American Public Media, the Canadian Broadcasting Corporation, Klara (Belgium), and Radio 4 (Netherlands).
In addition to his success in Bruges, Mark has distinguished himself as a prizewinner in a number of important competitions, including the 2012 Jurow International Harpsichord Competition, the 2011 Concours d’orgue de Québec, and the 2008 Rodland Organ Competition. He is the recipient of academic grants from the Social Sciences and Humanities Research Council of Canada and the German Academic Exchange Service (DAAD). He studied at the Eastman School of Music in Rochester, NY, where he earned his Bachelor of Music with highest distinction, and completed graduate degrees at McGill University and the Hochschule für Musik Freiburg. His former teachers include Robert Hill, William Porter, Hank Knox, and David Higgs. He is currently a PhD candidate at Leiden University and the Orpheus Instituut, Ghent, where his research examines the intersection of memory, improvisation, and the concept of the musical work.
Pascale Beaudin’s incomparable diction, intelligent musicality and expressive palette make her ideal for concert and recital work. In addition to being a member of the Four Nations Ensemble, Mrs. Beaudin collaborates with many orchestras in Canada, the United States and Europe. Mrs. Beaudin is one of 6 singers featured on the critically acclaimed 5-disc release « Mélodies complètes de Francis Poulenc » with pianist Olivier Godin. She also took part in recording « Les Femmes vengées » by Philidor with Opera Lafayette. Future engagements include collaborations with Chatham Baroque, Les Songes, Cecilia Concerts, and the Ensemble Contemporain de Montréal for the premiere of an opera by André Ristic.
Tenor, Mark Bleeke sings music of the Medieval, Renaissance, Baroque, Classical, Contemporary, Operatic, Jazz and Popular genres. He sang the role of Daniel in Ensemble for Early Music’s production of Daniel and the Lions well over one hundred times in festivals worldwide. As a frequent guest with The Folger Consort he has enjoyed performing Elizabethan songs, and his portrayal of a troubadour, is featured in the PBS broadcast and recording of The Power of Myth with Bill Moyers and Joseph Campbell. Mr . Bleeke appeared as Apollo in Boston Early Music Festival’s production of Monteverdi’s Orpheo, and sang his Vespers of 1610 with the Tavener Consort, both under the direction of Andrew Parrott.
From the conservatoire de région d’Angers, to the École de Danse de Québec, from the National Ballet School where she graduated from the teacher training to the École Internationale de théâtre Jacques Lecoq in Paris where she trains in physical theatre, Stéphanie likes to travel between dance theatre, contemporary dance, clown and baroque dance. In 2008, she joins the Sursaut contemporary dance company as a dancer and becomes assistant artistic director in 2011. She also works with the Nouvel Opéra and Danse Cadence as baroque dancer. In 2015, she creates her first contemporary choreographic work for three dancers and completes in 2017 the creation of Compromis Improbable a neo-baroque solo she choreographs and dances. Stéphanie also regularly teaches in different dance programs as well as offering workshop for children.
An extremely versatile singer, recording artist and performer, Canadian tenor Nils Brown has performed on concert stages of North America, with the Boston Handel and Haydn Society, the American Bach Soloists, Portland Baroque Orchestra, Aradia Ensemble, Tafelmusik, Orchestre symphonique de Montréal, Orchestre symphonique de Québec, Vancouver, Edmonton Symphonies, Calgary Philharmonic, Symphony Nova Scotia, Chœur St. Laurent, Toronto Mendelssohn Choir, the Ottawa Choral Society. As a singing actor in Jonathan Miller’s staged production of Bach’s St. Matthew Passion at the Brooklyn Academy, New York City, Nils Brown has appeared in 3 editions of that important dramatic treatment. He completed in 2016 a self-directed workshop with Calgary dance company W&M Physical Theatre, at the Banff Centre for Arts, in vocal repertoire from Lutoslawski, Britten and Bowie. This was after performances as Almaviva, with Chicoutimi’s Société lyrique du Royaume, in French with dialogue from Beaumarchais’ original, Le barbier de Séville.
Soprano Hélène Brunet is an emerging Canadian artist whose singing has been celebrated for its “style, refinement, purity; music that speaks without artifice” (Yannick Nézet-Séguin). Hélène has collaborated with reputed ensembles and orchestras, including L’Orchestre Métropolitain de Montréal, Seattle Baroque Orchestra, Columbus Symphony Orchestra, Tafelmusik Baroque Orchestra, I Musici de Montréal, American Bach Soloists, Ensemble Caprice, Ensemble Aradia, Les Boréades, l’Harmonie des Saisons and SMAM. In opera, Hélène recently appeared as Hymen (Persée) at Versailles, as Laurette (Le Docteur Miracle) in Tel aviv and as Berta (Il Barbiere di Siviglia) in Hamilton. A recording with L’Harmonie des Saisons is being released under ATMA label this November. Other recording projects under ATMA and Naxos are planned for 2016. Hélène is also an ambassador for Simaudio, an internationally renowned Québécois company who designs and manufactures leading-edge audio products.
Montreal-based mezzo soprano Maude Brunet is known for her warm, rich tone and expressive musicality. Her sensitive artistry and refined singing have made her a highly sought-after singer, performing with many of Canada’s most prestigious ensembles, including Les Voix Baroques, Ottawa Chamberfest, Orford Festival, Early Music Vancouver and Studio de musique ancienne de Montréal.
Concert highlights for Maude Brunet include Bach’s Psalm 61 at Lanaudière Festival with Les Violons du Roy, Pergolesi’s Stabat Mater with Montreal Symphony Orchestra, Handel’s Messiah with Laval Symphony Orchestra under Alain Trudel. 2016 marked her debut with Trois-Rivières Symphony Orchestra in Mozart’s Requiem under Jacques Lacombe.
A talented singing actress, Maude drew praise as Costanza – “her voice has an alluring black – coffee colour” in Haydn’s L’Isola Disabitata with Ottawa’s Thirteen Strings, and enchanted the audience as Lazuli in L’Étoile with Société d’Art Lyrique du Royaume.
A frequent soloist with Matthias Maute’s acclaimed Ensemble Caprice, Maude starred in Juditha Triumphans, which won the 2014 Opus Prize for Concert of the Year – Baroque Music.
This season, concert engagements include Choeur St – Laurent ( Bach Cantatas) Guelph Chamber Choir ( Messiah) , Menno Singers ( Messiah).and Ensemble Caprice (Bach Cantatas).
In 2017, Maude looks forward to her debut with Orchestre symphonique de Québec in Mozart’s Requiem under the baton of Enrique Mazzola.
Québec baritone Dominique Côté is much in demand in France, United States and Canada as a singing actor for film, opera, television and musicals. First prize competition wins include the Concours International de chant de Marmande and de Canari in France. He has been engaged by Opéra de Montréal, Geneva,Québec, Marseille, Avignon, Victoria, Washington D.C’s Opera Lafayette, Wexford Opera Festival, Just for laugh and Radio-Canada, among others. He recently recorded La Société Anonyme des Messieurs Prudents from Beydts with Avignon-Provence Orchestra and sang the Comtess in Les Feluettes for Edmonton Opera. Next projects included Le Roi Carotte from Offenbach at Opéra de Lille and Footloose at Les Folies Bergères in Paris.
Joël da Silva is a well-known figure amongst the youth and child theatre community. Born of comedian parents, he and his siblings travel with them around Québec to perform puppet shows, some of which he wrote himself. Later, he studies acting at l’Option théâtre of Sainte-Thérèse. He then moves on to the creative company La Cannerie. Throughout the collective creations of the company, he develops his talent as a one-man-band. His first solo show is La Nuit blanche de Barbe-bleue (1989), in which the public first discovered both his fine humour and his taste for the unusual. From then on, he receives text orders from multiple theatre companies. In 1999 he created le Théâtre Magasin to independently continue his atypical masterpiece of crafted words, objects and music, from which sprung on of his biggest hits, Le Temps des muffins. He is currently working on his next solo show, Jo les machines.
Recognized for her work in the baroque repertoire, Canadian soprano Karina Gauvin sings Bach, Mahler, Britten and the music of the 20th and 21st centuries with equal success. The prestigious distinctions she has received include the title of “Soloist of the Year” awarded by the Communauté internationale des radios publiques de langue française, first prize in the CBC Radio competition for young performers, and the Virginia Parker Prize and Maggie Teyte Memorial Prize in London.
She has sung with the greatest symphony orchestras, including the Orchestre symphonique de Montréal, the San Francisco Symphony, the Chicago Symphony, the New York Philharmonic and the Rotterdam Philharmonic, as well as baroque orchestras such as Les Talens Lyriques, the Venice Baroque Orchestra, Accademia Bizantina, Il Complesso Barocco, the Akademie Für Alte Musik Berlin, the Tafelmusik Baroque Orchestra, and Les Violons du Roy.
She has performed under the direction of Charles Dutoit, Michael Tilson Thomas, Bernard Labadie, Christophe Rousset, Alan Curtis, Sir Roger Norrington, Kent Nagano, Semyon Bychkov, Hulmut Rilling and Yannick Nézet-Séguin. In addition, she has given recitals with pianists Marc-André Hamelin, Angela Hewitt, Michael McMahon, and Roger Vignoles.
She was Alcina (Handel) with Les Talens Lyriques and Ariadne in Georg Conradi’s Die Schöne und getreue Ariadne for the Boston Early Music Festival. She has sung Seleuce in Handel’s Tolomeo with Alan Curtis, with whom she also recorded Handel operas on ARCHIV/Deutsche Grammophon, Virgin and Naïve labels, among others. She performed in Tito Manlio (Vivaldi) in Brussels and at the Barbican in London, in Ezio (Handel) in Paris and Vienna, in Giulio Cesare (Handel) in Paris and Vienna, as well as in Juditha Triumphans (Vivaldi) with Andrea Marcon at the Concertgebouw in Amsterdam. Her performances with the Boston Early Music Festival Orchestra earned her nominations at the Grammy Awards in 2007 and 2009.
Karina Gauvin’s extensive discography – over 30 titles – has won numerous awards, including a “Chamber Music America Award” for her Fête Galante disc with pianist Marc-André Hamelin, and several Opus Prizes.
Her recent projects include a European tour and a recording of Ariodante (Handel) for EMI Virgin Classics, along with a European tour and a recording of Giulio Cesare for the Naïve House, both with Alan Curtis and Il Complesso Barocco. She has also sung the Martyrdom of Saint Sebastian and the Symphony No. 2 (Mahler) with the San Francisco Symphony Orchestra, under the direction of Michael Tilson Thomas. In 2009, she recorded Britten’s Les Illuminations with Les Violons du Roy under the direction of Jean-Marie Zeitouni, and she has just completed an album in honour of Anna Maria Strada del Po, with Alexander Weimann and the Arion Ensemble.
Karina Gauvin recently performed the Princess in Ravel’s L’enfant et les sortilèges with the Rotterdam Philharmonic and Yannick Nézet-Séguin, and she sang in Bach’s Johannes Passion with Les Violons du Roy and Bernard Labadie, on tour in Canada and then at Carnegie Hall in New York. Future seasons promise to be exciting: she will sing Armida in Handel’s Rinaldo at the Glyndebourne Festival, Giunone in Cavalli’s Callisto at the Bayerische Staatsoper, Vitellia in Mozart’s La Clemenza di Tito at the Théâtre des Champs-Elysées in Paris, and Armide in Gluck’s Armide with the Netherlands Opera.
Montreal-born baritone François-Nicolas Guertin received his first musical training with the Maîtrise des Petits Chanteurs du Mont-Royal. He is currently completing a Master in singing at the Université de Montréal in the studio of John Fanning.
On opera stage, he sang the roles of Marco (Gianni Schicchi), le Marquis de la Force (Les dialogues des Carmélites) and Achilla (Guilio Cesare) with l’Atelier d’opéra de l’Université de Montréal. He also sang roles with l’Atelier de musique contemporaine de l’Université de Montréal and Chants Libres. Next fall, he will be singing the role of Polyphemus (Acis and Galatea, November 2015) in a co-production of Les Boréades and L’Harmonie des Saisons.
In concert, he appears regularly with l’Orchestre philharmonique de la Métropole, and in early music, with Clavecin en concert, under the direction of Luc Beauséjour, as well as in the chamber music series Serenata at St-John’s. Upcoming performances include concerts with the Studio de Musique Ancienne de Montréal and Les Boréades.
In recital repertoire, he received specialized training from internationally renowned musicians such as Rosemarie Landry, Susan Manoff, François Le Roux, Sir Thomas Allen and Graham Johnson.
François-Nicolas is the 2013 recipient of the Fonds George Cédric-Ferguson (1st prize) for opera singers, as well as the Fonds Abbé Charles-Émile-Gadbois (1st prize) for French singing. He also received the support of the Fondation Jacqueline Desmarais pour les jeunes chanteurs d’opéra canadiens, as well as the Fondation Jeunesses Musicales du Canada.
Passionnate about early music, Suzie LeBlanc records much unpublished music on the albums AMOR ROMA and NOBIL DONNA. Also an advocate for contemporary music, she produced the award-winning album « I am in need of music » on poems by Elizabeth Bishop. In 2017/2018, she performs with Ensemble Constantinople, the Victoria Symphony, Seattle Baroque, the SMCQ and tours her Acadian Christmas album « La Veillée de Noël » around Montreal. Appointed to the Ordre of Canada for her cultural contribution, she also earned four honorary doctorates. Suzie co-directs Le Nouvel Opra, teaches at McGill and is a devoted SAMS artist.
Eric Milnes a été célébré par les critiques partout aux Etats-Unis et en Europe comme un des artistes de musique ancienne des plus dynamiques et irrésistibles de sa génération. Originaire de New York, il a été applaudi aux festivals d’Utrecht et de Bruges, de Bremen, Regensburg, Potsdam, Munich et Passau en Allemagne, au Lufthansa Festival à Londres, et au Boston Early Music, Mostly Mozart New York, Santa Fe Chamber Music et Berkely Bach Festival aux Etats-Unis. Comme musicien, il fréquente les festivals de Montréal, Ottawa et Vancouver. M. Milnes est le directeur artistique du New York Baroque, du Trinity Consort (Portland, Oregon) et il dirige le Bande Montréal Baroque. Il a été le chef invité de plusieurs ensembles remarquables de musique ancienne, incluant The New York Collegium, The Philhamonia Baroque Orchestra, The Santa Fe Chamber Orchestra, The Northwest Chamber Ochestra (Seattle), I Cantori di New York, Les Boréades de Montréal, Les Voix Baroques et Musica Divina. Sa discographie considérable comprend sa direction de la Passion selon St Jean et la Messe en si mineur de Bach, Acis et Galatée, Israël en Égypte et le Messie de Handel, les Kleine Geistliche Konzerte de Heinrich Schütz, des Cantates Sacrés de Fuchs, Heinichen et Ristori, les Motets Hébraïques de Salomone Rossi, les Vêpres de Monteverdi et le Requiem de Mozart. Il est en train de diriger l’enregistrement de l’intégrale des Cantates Sacrés de Bach pour l’étiquette Atma Classique, dont 4 volumes sont complétés.
Cette saison, M. Milnes dirigera des représentations de l’Orfeo de Monteverdi au Festival Montréal Baroque, de Alcina et de Julio Ceasare de Handel au Astoria Festival, de la musique sacrée à l’Université McGill et au Festival Montréal Baroque, des Grands Motets de Rameau et Charpentier au Trinity Cathedral à Portland, Oregon, des concertos de Scarlatti et des concerts pour clavecin de Bach avec le New York Collegium, et il jouera en tant que claveciniste à Londres, Munich, Potsdam, Amsterdam, Utrecht et en tournée à travers la France et le Canada. M. Milnes a enseigné à différentes universités et conservatoires en Europe et à New York, entre autres aux Juilliard School, Hofstra University, le Musikkhogskole à Oslo (Norvège) et le Musikkconservatorium à Bergen (Norvège). Ses compositions ont été publiées par Trinitas Press, et il est le directeur musical au St. Johns’ Episcopal Church à Locust Valley, New York.
Born in Halifax, Nova Scotia into a music loving family, Chris’ influential work as performer, composer, recording artist, teacher and flutemaker has earned him worldwide recognition. His flute playing has appeared on more than 40 recordings and can be heard featured on numerous Hollywood soundtracks. Chris is founder and director of the Boxwood Festivals and Workshops taking place for the past 20 years in Canada, New Zealand, Australia and the US, inspiring thousands of musicians of all ages. As a flute maker, he brings to bear a discernment forged over a 30-year career to make world-class flutes for traditional, baroque and renaissance music. Chris was awarded a Doctor of Laws. LLD, (h.c.), by Dalhousie University in Halifax, NS, and a Queen Elizabeth II Diamond Jubilee Medal for contribution to the arts in Canada in 2012.
Comédien et chanteur d’une indéniable polyvalence, il a joué depuis 2008 dans plus d’une trentaine de productions de “théâtre chanté” de l’opéra baroque de Monteverdi jusqu’à l’opéra rock de Broadway. À l’opéra et à l’opérette, on compte une vingtaine de rôles à son actif avec les meilleures compagnies d’ici et d’ailleurs: Opéra Comique de Paris, Toronto Masque Theater, Opéra de Québec, Le Nouvel Opéra, Chants Libres, Opéra Bouffe du Québec, Les Jeunesses Musicales du Canada, la Société d’art lyrique du Royaume. Féru de musique baroque, il a participé à divers projets pluridisciplinaires avec les ensembles Les Boréades, L’Harmonie des Saisons, Masques, l’Académie de musique baroque de Montréal, La Nef, Alkemia, et la troupe les Jardins Chorégraphiques. Il a été chanteur principal du spectacle La Nouba du Cirque du Soleil à Walt Disney World et a fait naturellement le saut du côté de la comédie musicale avec entres autres Les Misérables au Capitole de Québec et aux Francofolies de Montréal, Une vie presque Normale au Théâtre du Rideau Vert et Hairspray au Festival Juste pour Rire. Au théâtre, il a joué en français comme en anglais pour des festivals de théâtre internationaux tels que le Festival TransAmériques de Montréal, l’International Children’s Festival de Cleveland et le Pitsburgh’s International Children’s Festival. La presse canadienne a souvent souligné ses talents d’acteur dans diverses productions: le Toronto Star le décrivait de “talentueux” avec “du panache”, La Presse le disait “exceptionnellement doué” et Le Devoir parlait de son “immense charisme”.
A student of Christiane Eda Pierre, Jean-Marc Salzmann was awarded two first prizes at the « Conservatoire national supérieur de musique et de danse de Paris ». He trained as an actor at the Actors’ Studio of the American Center in Paris. He began his carrier as a performer at the Théâtre de Paris, and he was then invited to perform in France’s major theaters (Paris, Lyon, Strasbourg, Toulouse, etc.), as well as abroad in Europe, the United States and Asia. His artistic activities include baroque music, contemporary music but also the operatic repertoire, spanning from Mozart to Poulenc, via Strauss and Wagner. As an actor, he has appeared in musical works such as “Peter and the Wolf”, Mozart’s ” Die Entführung aus dem Serail » , Debussy’s “La Boîte à Joujoux”, and in Bertolt Brecht’s “Mother Courage and Her Children ».
Originaire de Charlevoix, Anne Thivierge a obtenu en 2003 une maîtrise en flûte traversière à l’Université de Montréal auprès de Lise Daoust. Elle s’est perfectionnée par la suite à la flûte traversière baroque auprès de Marc Hantaï à Paris ainsi qu’au Conservatoire Royal de Bruxelles (Belgique) auprès de Barthold Kuijken et Frank Theuns où elle a terminé en 2006 une maîtrise avec grande distinction.
Elle joue en Europe, au Canada et aux États-Unis avec des ensembles tels Le Concert des Nations (Jordi Savall), L’Ensemble Pygmalion (Raphaël Pichon), Boston Baroque (Martin Pearlman), Tafelmusik Baroque Orchestra (Jeanne Lamon), Les Boréades (Francis Colpron), l’Ensemble Masques (Olivier Fortin) Pallade Musica et La Chamaille. Elle enseigne la flûte traversière à l’Université Laval (Québec).