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Concerts
Acis and Galatea
Friday 30 May 2003
Acis and Galatea
Thursday 29 May 2003
Patronymics from Quebec
Monday 3 March 2003
The Nations of the Voice
Friday 22 November 2002
A Musical Banquet
Friday 27 September 2002[/vc_column_text][/vc_column][/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css_animation=”element_from_fade” transition_delay=”250″][vc_column][vc_empty_space][separator_with_icon icon=”fa-angle-double-down”][vc_empty_space][/vc_column][/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” css_animation=”element_from_fade” transition_delay=”250″][vc_column][vc_column_text]
Acis and Galatea
Friday 30 May 2003, 20:00
Artists
Eric Milnes
Francis Colpron
Marc Molomot
Mark Bleeke
Nathaniel Watson
Suzie Leblanc
Chapelle Notre-Dame-de-Bon-Secours
Website
400, rue Saint-Paul Est [métro Champ-de-Mars], Vieux-Montréal, Québec
- Regular: 28,00$
- Senior: 28,00$
- Student: 15,00$
Program
Concert version of Handel’s Pastoral masque
Written in 1718 for the Duke of Chanos’ private theatre, Acis and Galateatells the story of a nymph (Galatea), her shepherd lover (Acis), and the cyclops (Polyphemus) who also loved her. This brief English masque (an early form of opera) is one of Handel’s best theatrical works. It portrays a pastoral world, and deftly sketches character with an exquisite flow of melody. It is no wonder that this remained one of Handel’s most popular works throughout the 18th century.
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Acis and Galatea
Thursday 29 May 2003, 20:00
Artists
Eric Milnes
Francis Colpron
Hélène Plouffe
Marc Molomot
Mark Bleeke
Nathaniel Watson
Susie Napper
Suzie Leblanc
Chapelle Notre-Dame-de-Bon-Secours
Website
400, rue Saint-Paul Est [métro Champ-de-Mars], Vieux-Montréal, Québec
- Regular: 28,00$
- Senior: 28,00$
- Student: 15,00$
Program
Concert version of Handel’s Pastoral masque
Written in 1718 for the Duke of Chanos’ private theatre, Acis and Galateatells the story of a nymph (Galatea), her shepherd lover (Acis), and the cyclops (Polyphemus) who also loved her. This brief English masque (an early form of opera) is one of Handel’s best theatrical works. It portrays a pastoral world, and deftly sketches character with an exquisite flow of melody. It is no wonder that this remained one of Handel’s most popular works throughout the 18th century.
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Patronymics from Quebec
Monday 3 March 2003, 20:30
Artists
Francis Colpron
Hélène Plouffe
Susie Napper
Chapelle Notre-Dame-de-Bon-Secours
Website
400, rue Saint-Paul Est [métro Champ-de-Mars], Vieux-Montréal, Québec
- Regular: 23,00$
- Senior: 18,00$
- Student: 13,00$
Program
Benefit Concert
Local names that have survived for centuries
Baroque composers, particularly those of France. Germany, and Italy often named pieces after people, famous or otherwise, whom they knew. Many of the names used for such musical portraits — sometimes humorous testimonials of friendship, sometimes hommages — are still used today as family names in Quebec. The purpose of this concert is, by playing pieces with such names, to unite past and present, explore roots, and play with coincidences.
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The Nations of the Voice
Friday 22 November 2002, 20:00
Artists
Francis Colpron
Hélène Plouffe
Stéphanie Révidat
Susie Napper
Chapelle Notre-Dame-de-Bon-Secours
Website
400, rue Saint-Paul Est [métro Champ-de-Mars], Vieux-Montréal, Québec
- Regular: 23,00$
- Senior: 18,00$
- Student: 13,00$
Program
Cantatas by Telemann, Scarlatti, Delalande
Guest artist: Stéphanie Révidat, soprano
The human voice, in choirs or solos, has for centuries served as the model par excellence of the art of sound. By combining text and melody, the voice can both articulate and express the essentials of a civilization. During the Baroque era, the goal of the arts was, above all, to seduce and move, and various rhetoric devices were used to achieve this end. In music, both in France and in Germany, the voice was used, in combination with instruments to express the most diverse passions; and it was the voice that instruments aspired to imitate.
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A Musical Banquet
Friday 27 September 2002, 20:00
Artists
Capriccio Stravagante
Francis Colpron
Hélène Plouffe
Skip Sempé
Susie Napper
Chapelle Notre-Dame-de-Bon-Secours
Website
400, rue Saint-Paul Est [métro Champ-de-Mars], Vieux-Montréal, Québec
- Regular: 23,00$
- Senior: 18,00$
- Student: 13,00$
Program
Canzonas and dances from 17th century Germany (William Brade, John Dowland, Michael Praetorius, Samuel Scheidt and Johann Schein)
Capriccio Stravagante; Skip Sempé, guest conductor
German instrumental music of the 17th century was often associated with the feasts, secular and sacred, mounted by the various princes who ruled the German kingdoms. However, works such as Michael Praetorius’Terpshichore, Johann Hermann Schein’s Banchetto musicale, or Samuel Scheidt’s Ludi musici are not just musical wallpaper for such feasts. Their dances, suites, and sonatas are extremely well written, and we can enjoy them as princely fare.
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