{"id":3411,"date":"2015-08-17T13:26:05","date_gmt":"2015-08-17T17:26:05","guid":{"rendered":"https:\/\/www.boreades.com\/en\/critiques-de-cd\/"},"modified":"2018-11-06T10:38:50","modified_gmt":"2018-11-06T15:38:50","slug":"quotes","status":"publish","type":"page","link":"https:\/\/www.boreades.com\/en\/quotes\/","title":{"rendered":"Quotes"},"content":{"rendered":"

[vc_row css_animation=”” 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”][vc_column][testimonials_carousel category=”recordings” show_title=”yes” show_rating=”yes” author_image=”yes” show_navigation=”yes” navigation_style=”dark” auto_rotate_slides=”3″ text_font_size=”16″ author_text_font_size=”12″][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”nicandro-e-fileno” in_content_menu=”in_content_menu” content_menu_title=”Nicandro e Fileno” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″ z_index=””][vc_column][vc_separator type=”transparent” thickness=”50″][vc_column_text]<\/p>\n

Nicandro e Fileno<\/a><\/h2>\n
\n

There is really nothing bad to say about this production. This historical revival of Paolo Lorenzani’s pastoral, which had been resting, unknown, for over three hundred years, is a thundering success.<\/p>\n

\u2013 Benjamin Goron, La Scena Musicale, November 2018<\/p>\n

myscena.org\/fr\/benjamin-goron\/nicandro-e-fileno-un-enregistrement-historique<\/a><\/p>\n<\/div>\n

 <\/p>\n

A team of valiant Quebecers gives us Paolo Lorenzani’s delightful pastoral… The distribution presents a light and lovely interpretation, full of energy, with\u00a0 touch of bitterness rendering it a little bit more than a simple situations machine. Francis Colpron leads the characters\u00a0with warmth and colour\u00a0in their playful rural passions.<\/p>\n

Christian Wasselin, WebTh\u00e9\u00e2tre, october 2018<\/p>\n

www.webtheatre.fr\/Connaissez-vous-Paolo-Lorenzani<\/a><\/p>\n

 <\/p>\n

“Qu\u00e9bec’s baroque scene is not still. It continues to develop and give us incredible works. This recording is one of them.”<\/p>\n

\n

– Frederic Lambert, M\u00e9dium Large, Radio Canada, October 2018<\/p>\n

ici.radio-canada.ca\/premiere\/emissions\/medium-large<\/a><\/p>\n<\/div>\n

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Tabarinades<\/a><\/h2>\n

Early Music America
\n1 mars 2012
\nOn their website, Les Bor\u00e9ades promote themselves as\u201ckeeping with the spirit of the Baroque era,\u201d a phrase certainly befitting this CD. The disc is a compilation of arrangements and compositions from a multitude of composers, arranged for the ensemble by its director, Francis Colpron (who also plays the recorder). The tracks range from a delicate recorder and gamba setting of the madrigal \u201cDa beirami scendea\u201d by Jacques Arcadelt (c.1507-1568) to a rambunctious \u201cHungaresca\u201d from a suite by Guillaume Dumanoir(1615-1697), which evokes a lively crowd gathering around street musicians. The variety of works, styles of playing, and interpretations that the group provides should be enough to draw the listener in for the full hour-long recording. But the ensemble adds even more: its performances exude a whimsical intensity and an attention to detail that draw these eclectic works of early music into a modern context.
\nTabarinades is part of a larger project for Les Bor\u00e9ades attempting to recapture street performances of comic theatrical pieces performed in Paris in the 16thand 17th centuries. These performances often included musical works that accompanied humorous scenes played on the streets for those walking by. (See the ensemble\u2019s website for a video clip of a live performance: www.boreades.com\/en).
\nMany of the works on this disc are lively dance pieces, and the arrangements show case the group\u2019s different soloists, adding variety to their performances and highlighting the members\u2019 various virtuoso abilities. I was especially impressed with the three capriccios by Vincenzo Ruffo(c.1508-1587), which presented a variety of soloists (harpsichord,positive organ,recorders,cornetti,and violins), theatrical uses of percussion instruments, and a captivating rhythmic diversity. The air \u201cSi jamais mon \u00e2me bless\u00e9e,\u201d written by Pierre Guedron (c.1570-c.1620) and arranged here for lute, is simple and lovely, a perfect contrast to the livelier pieces that came earlier. The viole da gamba are also featured on tracks 10 and 11, providing a rich, sustained sound that rounds out the CD. Most impressive is the ensemble\u2019s organic and vivid energy. The group plays perfectly together throughout the disc, a great feat considering the amount of improvisation that probably occurred during the recording.
\n… this recording is a testament to Les Bor\u00e9ades\u2019 innovative and exciting approach to 16th- and 17th- century instrumental music.
\nAlison DeSimone – Early Music America<\/p>\n

La Scena Musicale
\n1 novembre 2011
\n\u2605\u2605\u2605\u2605
\nTwo precisions given by the programme notes explain this CD’s title: “Music for the Tabarin theatre” and “French instrumental dances and songs (1550-1650).” Here we have music for popular theatre: entertaining, certainly, but also critical of the social shortcomings of the time. Tabarin was the soul, and Moli\u00e8re didn’t miss seeing him for the forerunner and inspiration that he was. This is festive music too, recreated for us by Les Bor\u00e9ades, in top shape with their thirteen instrumentalists, under the attentive baton of Francis Colpron. Some thirty pieces, of wich several have been adapted by the conductor, are signed by around fifteen more-or-less well-known composers. Playful and very rhythmic thanks to lively percussion, they all seem imprinted with nostalgia, even melancholy. This is particularly felt in the pieces reserved for strings alone, perhaps because of their husky tone. On the flute, Francis Colpron thrills with his masterful chirps and twitters. A real treat for the ears!
\nAlexandre Lazarid\u00e8s – La Scena Musicale<\/p>\n

The Whole Note
\n1 octobre 2011
\nTabarin was the stage name of Jean Salomon. Born in 1584, he and Antoine and Philippe Girard set up an open-air theatre in Place Dauphine, Paris. Lively shows put Parisians of all classes in good humour, promoting the sale of Tabarin\u2019s range of quack medicines. Music accompanied the sketches; violins and bass viol are depicted in illustrations. The comparison with commedia dell\u2019arte is too tempting for Director Colpron, who adds the latter\u2019s recorders, lute and guitar. From the start, this anthology (27 tracks in one hour!) features the liveliness of the French renaissance dance tune and many tracks are very familiar to early music lovers. Several pieces are taken from more courtly circles, ballets being an obvious example. In these cases, woodwinds liven up what might have been rather subdued string pieces.<\/p>\n

The selection is varied, as a motet and a stately pavan find their way onto a CD of essentially French secular and theatrical music. None of this should distract the listener from an hour of highly enjoyable playing, none more so than the recorder-playing of Francis Colpron (listen to the stately quality of Da bei rami scendea). His direction brings as many as 14 early musicians together, sometimes 11 on one track\u2013a veritable crowd for early music enthusiasts!
\nMichael Schwartz – The Whole Note<\/p>\n

Radio-Canada – Premi\u00e8re cha\u00eene
\n24 septembre 2011
\n…Un disque que j’ai ch\u00e9ri, tr\u00e8s beau musicalement\u2026
\nEdgar Fruitier –
\n\u2014\u00a0Samedi et rien d\u2019autre, SRC (Qu\u00e9bec)<\/a><\/p>\n

Un album tr\u00e8s chaudement recommand\u00e9 par Le Devoir.
\n\u2014 Le Devoir<\/p>\n

\u00c0 la mani\u00e8re d\u2019un Th\u00e9\u00e2tre des vari\u00e9t\u00e9s, mais au 17e si\u00e8cle, Les Bor\u00e9ades font revivre avec plusieurs com\u00e9diens, dont Carl B\u00e9chard, l\u2019\u00e9poque de Tabarin, pr\u00e9d\u00e9cesseur de Moli\u00e8re. Avant d\u2019aller voir cette com\u00e9die musicale grin\u00e7ante, il faut se plonger dans un univers tout en musique, illustr\u00e9 de fa\u00e7on impeccable par une \u00e9quipe de musiciens rod\u00e9s aux danses et chansons fran\u00e7aises (1550-1650). En vingt-sept plages, avec une quantit\u00e9 impressionnante de compositeurs et troubadours inconnus, Francis Colpron et ses acolytes r\u00e9alisent un v\u00e9ritable tour de force qui est loin d\u2019\u00eatre ennuyeux.
\n\u2014 Le Journal de Montr\u00e9al<\/p>\n

Au d\u00e9but du 17e si\u00e8cle, Tabarin fut le \u00abprince des bouffons\u00bb du th\u00e9\u00e2tre de rue fran\u00e7ais. Le directeur des Bor\u00e9ades de Montr\u00e9al, Francis Colpron (aussi \u00e0 la fl\u00fbte \u00e0 bec), a eu la bonne id\u00e9e de concevoir un programme qui m\u00eale les fac\u00e9ties et calembredaines du personnage \u00e0 des musiques appropri\u00e9es. Danseries, chansons (instrumentales) et m\u00eame un Ballet de grenouille sont au rendez-vous. La plupart des pi\u00e8ces sont interpr\u00e9t\u00e9es par une dizaine de musiciens (fl\u00fbtes, hautbois, cordes, clavecin et percussions) et la s\u00e9lection vari\u00e9e offre des airs de Lambert Beaulieu, Michael Pr\u00e6torius, Guillaume Dumanoir ou Pierre Gu\u00e9dron.
\n\u2014 Voir<\/p>\n

[\u2026] Les Bor\u00e9ades proposent un programme vari\u00e9 de musique th\u00e9\u00e2trale qu\u2019on aurait entendue \u00e0 Paris au d\u00e9but du 17e si\u00e8cle. [\u2026] C\u2019est joyeux, festif, les arrangements sont bien faits. [\u2026] Pour initier les enfants \u00e0 ce genre de musique, c\u2019est un album fantastique. [\u2026] Les chansons plus tristes viennent vraiment me toucher. [\u2026] L\u2019ex\u00e9cution est vraiment impeccable! Allez acheter l\u2019album, essayez de ne pas sourire, c\u2019est impossible\u2026
\n\u2014 Radio-Canada \u2014 Premi\u00e8re cha\u00eene, M\u00e9dium Large<\/p>\n

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Journey<\/a><\/h2>\n

Les Bor\u00e9ades play the works in a cogent, unhurried and masterfull manner, never confusing energy with speed.
\n\u2014 Opus (Qu\u00e9bec)<\/p>\n

Il est facile de constater le chemin parcouru par un ensemble qui a su remplir les promesses initiales en devenant l\u2019un des meilleurs de la n\u00e9buleuse baroque. Un plaisir renouvel\u00e9 pour tous ceux qui connaissent d\u00e9j\u00e0 l\u2019ensemble, et une occasion en or de le d\u00e9couvrir pour tous les n\u00e9ophytes.
\n\u2014 La Scena Musicale (Qu\u00e9bec)<\/p>\n

L\u2019orchestre Les Bor\u00e9ades est d\u2019une tr\u00e8s belle sonorit\u00e9\u2026 Les diff\u00e9rents soli sont remarquables\u2026 Le ch\u0153ur d\u2019ouverture impose une perfection d\u2019intonation, d\u2019articulation et d\u2019homog\u00e9n\u00e9it\u00e9 qui trouve son point culminant dans la phrase finale.
\n\u2014 R\u00e9pertoire (France)<\/p>\n

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Purcell<\/a><\/h2>\n

Les Lignes longues, le vibrato parfaitement dos\u00e9, le timbre chaleureux appartiennent \u00e0 une grande chanteuse et le programme est parfaitement choisi pour coller \u00e0 ses moyens vocaux. Ce disque, id\u00e9alement accompagn\u00e9 par les Bor\u00e9ades de Francis Colpron, fait l\u2019\u00e9loge de la patience, de la classe et de la chaleur humaine.
\n\u2014 Le Devoir (Qu\u00e9bec)<\/p>\n

This is absolutely essential for Purcell lovers. And for music lovers, too.
\n\u2014 The Audiophile Audition<\/p>\n

Royale, c\u2019est le moins que l\u2019on puisse dire de Karina Gauvin\u2026 Les \u0153uvres les plus classiques de L\u2019Orfeus Britannicus sont ici toutes pr\u00e9sentes\u2026 entrecoup\u00e9es de chaconnes et de musiques de sc\u00e8ne brillamment jou\u00e9es par Les Bor\u00e9ades.
\n\u2014 Classica-R\u00e9pertoire<\/p>\n

Karina Gauvin, en symbiose avec l\u2019ensemble Les Bor\u00e9ades de Montr\u00e9al\u2026 Un des meilleurs disques de l\u2019ann\u00e9e! (Indispensable)
\n\u2014 La Scena Musicale (Qu\u00e9bec)<\/p>\n

Gauvin sings with passion, ingratiating charm, sincerity and utter conviction\u2026 After Gauvin\u2019s enchanting opening phrase, Colpron takes over with as deliciously poised and captivating piece of violin playing as one is ever likely to hear.
\n\u2014 International Record Review<\/p>\n

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Hyver<\/a><\/h2>\n

Guid\u00e9s par la fl\u00fbte, les neuf solistes instrumentaux sont, eux aussi, fid\u00e8le \u00e0 leur r\u00e9putation, \u00e9loquent chez Orph\u00e9, rustique chez Don Quichotte, toujours vifs, prodigues et sans d\u00e9tour. De la belle ouvrage\u2026
\n\u2014 Diapason (France)<\/p>\n

La Qu\u00e9b\u00e9coise Karina Gauvin incarne avec subtilit\u00e9 les diff\u00e9rents r\u00f4les que r\u00e9unissent ces cantates\u2026 L\u2019ensemble de chambre Les Bor\u00e9ades (un instrument par partie) lui apporte un soutien attentif.
\n\u2014 Le Monde de la Musique<\/p>\n

Kudos to Francis Colpron (direction, recorders and traverse flute) for choosing the repertoire on this new CD. It is spectacular.
\n\u2014 Opus (Qu\u00e9bec)<\/p>\n

Karina Gauvin brille de tous ses feux\u2026 La partie instrumentale, assur\u00e9e avec \u00e9nergie et pr\u00e9cision par Les Bor\u00e9ades, sous la direction du fl\u00fbtiste Francis Colpron, contribue au r\u00e9chauffement climatique. Un bijou de disque.
\n\u2014 L\u2019actualit\u00e9 (Qu\u00e9bec)<\/p>\n

Ce disque heureux, festif et anim\u00e9 est un beau rayon de soleil dans le froid ambiant.
\n\u2014 Le Devoir (Qu\u00e9bec)<\/p>\n

Francis Colpron y fait merveille avec ses fl\u00fbtes \u00e0 bec si expressives, surtout quand elles s\u2019entrelacent avec la voix de Karina Gauvin, et sa direction des Bor\u00e9ades est au diapason de cette musique \u00e9l\u00e9gante.
\n\u2014 La Scena musicale (Qu\u00e9bec)<\/p>\n

Le timbre charnu et rond de Karina Gauvin sied particuli\u00e8rement bien \u00e0 la cantate L\u2019Hyver de Bodin de Boismortier\u2026 Le reste du programme orchestral est plus connu (\u2026) mais offre \u00e0 l\u2019ensemble canadien Les Bor\u00e9ades de faire la d\u00e9monstration de sa pugnacit\u00e9 interpr\u00e9tative.
\n\u2014 Classica-R\u00e9pertoire<\/p>\n

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Kammermusik<\/a><\/h2>\n

Guid\u00e9s par la fl\u00fbte, les neuf solistes instrumentaux sont, eux aussi, fid\u00e8le \u00e0 leur r\u00e9putation, \u00e9loquent chez Orph\u00e9, rustique chez Don Quichotte, toujours vifs, prodigues et sans d\u00e9tour. De la belle ouvrage\u2026
\n\u2014 Diapason (France)<\/p>\n

La Qu\u00e9b\u00e9coise Karina Gauvin incarne avec subtilit\u00e9 les diff\u00e9rents r\u00f4les que r\u00e9unissent ces cantates\u2026 L\u2019ensemble de chambre Les Bor\u00e9ades (un instrument par partie) lui apporte un soutien attentif.
\n\u2014 Le Monde de la Musique<\/p>\n

Kudos to Francis Colpron (direction, recorders and traverse flute) for choosing the repertoire on this new CD. It is spectacular.
\n\u2014 Opus (Qu\u00e9bec)<\/p>\n

Karina Gauvin brille de tous ses feux\u2026 La partie instrumentale, assur\u00e9e avec \u00e9nergie et pr\u00e9cision par Les Bor\u00e9ades, sous la direction du fl\u00fbtiste Francis Colpron, contribue au r\u00e9chauffement climatique. Un bijou de disque.
\n\u2014 L\u2019actualit\u00e9 (Qu\u00e9bec)<\/p>\n

Ce disque heureux, festif et anim\u00e9 est un beau rayon de soleil dans le froid ambiant.
\n\u2014 Le Devoir (Qu\u00e9bec)<\/p>\n

Francis Colpron y fait merveille avec ses fl\u00fbtes \u00e0 bec si expressives, surtout quand elles s\u2019entrelacent avec la voix de Karina Gauvin, et sa direction des Bor\u00e9ades est au diapason de cette musique \u00e9l\u00e9gante.
\n\u2014 La Scena musicale (Qu\u00e9bec)<\/p>\n

Le timbre charnu et rond de Karina Gauvin sied particuli\u00e8rement bien \u00e0 la cantate L\u2019Hyver de Bodin de Boismortier\u2026 Le reste du programme orchestral est plus connu (\u2026) mais offre \u00e0 l\u2019ensemble canadien Les Bor\u00e9ades de faire la d\u00e9monstration de sa pugnacit\u00e9 interpr\u00e9tative.
\n\u2014 Classica-R\u00e9pertoire<\/p>\n

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Acis & Galatea<\/a><\/h2>\n

Le r\u00e9sultat est une impression agr\u00e9able et attrayante de grande \u00e9nergie et de vitalit\u00e9. (5 \u00e9toiles)
\n\u2014 Goldberg<\/p>\n

I warmly recommended it
\n\u2014 Gramophone<\/p>\n

L\u2019orchestre Les Bor\u00e9ades est d\u2019une tr\u00e8s belle sonorit\u00e9 \u2026 Les diff\u00e9rents soli sont remarquables \u2026 Le ch\u0153ur d\u2019ouverture impose une perfection d\u2019intonation, d\u2019articulation et d\u2019homog\u00e9n\u00e9it\u00e9 qui trouve son point culminant dans la phrase finale \u2018Ah The gentle Acis is no more\u2019 du superbe ch\u0153ur de d\u00e9ploration \u2018Mourn all ye Muses\u2019.
\n\u2014 R\u00e9pertoire (France)<\/p>\n

L\u2019interpr\u00e9tation par les Bor\u00e9ades de l\u2019aimable \u00abmasque\u00bb pastoral Acis and Galatea, chef-d\u2019\u0153uvre d\u2019un Haendel dans la trentaine (1718), est plac\u00e9e sous le signe du sourire. Les fl\u00fbtes \u00e0 bec et les hautbois baroques s\u2019en donnent \u00e0 c\u0153ur joie pour notre plus grand ravissement. Sous la direction anim\u00e9e d\u2019Eric Milnes (qui tient aussi le clavecin et l\u2019orgue positif), les Bor\u00e9ades se r\u00e9v\u00e8lent un ensemble de premier ordre. (Indispensable de La Scena Musicale)
\n\u2014 La Scena musicale (Qu\u00e9bec)<\/p>\n

\u2026 L\u2019orchestre est splendide \u2026 l\u2019ornementation est abondante\u2026 les deux choeurs extr\u00eamement expressifs du second acte, \u00abWretched lovers\u00bb et \u00abMourn, all ye muses\u00bb apr\u00e8s la mort d\u2019Acis, sont extraordinaires.
\n\u2014 Toccata<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”acis-galatea” in_content_menu=”in_content_menu” content_menu_title=”Acis & Galatea” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_empty_space height=”64px”][separator_with_icon icon=”fa-angle-down”][vc_empty_space height=”14px”][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”super-flumina-babylonis” in_content_menu=”in_content_menu” content_menu_title=”Super Flumina Babylonis” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_separator type=”transparent” thickness=”50″][vc_column_text]<\/p>\n

Super Flumina Babylonis<\/a><\/h2>\n

Le r\u00e9sultat est une impression agr\u00e9able et attrayante de grande \u00e9nergie et de vitalit\u00e9. (5 \u00e9toiles)
\n\u2014 Goldberg<\/p>\n

I warmly recommended it
\n\u2014 Gramophone<\/p>\n

L\u2019orchestre Les Bor\u00e9ades est d\u2019une tr\u00e8s belle sonorit\u00e9 \u2026 Les diff\u00e9rents soli sont remarquables \u2026 Le ch\u0153ur d\u2019ouverture impose une perfection d\u2019intonation, d\u2019articulation et d\u2019homog\u00e9n\u00e9it\u00e9 qui trouve son point culminant dans la phrase finale \u2018Ah The gentle Acis is no more\u2019 du superbe ch\u0153ur de d\u00e9ploration \u2018Mourn all ye Muses\u2019.
\n\u2014 R\u00e9pertoire (France)<\/p>\n

L\u2019interpr\u00e9tation par les Bor\u00e9ades de l\u2019aimable \u00abmasque\u00bb pastoral Acis and Galatea, chef-d\u2019\u0153uvre d\u2019un Haendel dans la trentaine (1718), est plac\u00e9e sous le signe du sourire. Les fl\u00fbtes \u00e0 bec et les hautbois baroques s\u2019en donnent \u00e0 c\u0153ur joie pour notre plus grand ravissement. Sous la direction anim\u00e9e d\u2019Eric Milnes (qui tient aussi le clavecin et l\u2019orgue positif), les Bor\u00e9ades se r\u00e9v\u00e8lent un ensemble de premier ordre. (Indispensable de La Scena Musicale)
\n\u2014 La Scena musicale (Qu\u00e9bec)<\/p>\n

\u2026 L\u2019orchestre est splendide \u2026 l\u2019ornementation est abondante\u2026 les deux choeurs extr\u00eamement expressifs du second acte, \u00abWretched lovers\u00bb et \u00abMourn, all ye muses\u00bb apr\u00e8s la mort d\u2019Acis, sont extraordinaires.
\n\u2014 Toccata<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”acis-galatea” in_content_menu=”in_content_menu” content_menu_title=”Acis & Galatea” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_empty_space height=”64px”][separator_with_icon icon=”fa-angle-down”][vc_empty_space height=”14px”][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”in-stylo-moderno” in_content_menu=”in_content_menu” content_menu_title=”In Stylo Moderno” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_separator type=”transparent” thickness=”50″][vc_column_text]<\/p>\n

In Stilo Moderno<\/a><\/h2>\n

Le r\u00e9sultat est une impression agr\u00e9able et attrayante de grande \u00e9nergie et de vitalit\u00e9. (5 \u00e9toiles)
\n\u2014 Goldberg<\/p>\n

I warmly recommended it
\n\u2014 Gramophone<\/p>\n

L\u2019orchestre Les Bor\u00e9ades est d\u2019une tr\u00e8s belle sonorit\u00e9 \u2026 Les diff\u00e9rents soli sont remarquables \u2026 Le ch\u0153ur d\u2019ouverture impose une perfection d\u2019intonation, d\u2019articulation et d\u2019homog\u00e9n\u00e9it\u00e9 qui trouve son point culminant dans la phrase finale \u2018Ah The gentle Acis is no more\u2019 du superbe ch\u0153ur de d\u00e9ploration \u2018Mourn all ye Muses\u2019.
\n\u2014 R\u00e9pertoire (France)<\/p>\n

L\u2019interpr\u00e9tation par les Bor\u00e9ades de l\u2019aimable \u00abmasque\u00bb pastoral Acis and Galatea, chef-d\u2019\u0153uvre d\u2019un Haendel dans la trentaine (1718), est plac\u00e9e sous le signe du sourire. Les fl\u00fbtes \u00e0 bec et les hautbois baroques s\u2019en donnent \u00e0 c\u0153ur joie pour notre plus grand ravissement. Sous la direction anim\u00e9e d\u2019Eric Milnes (qui tient aussi le clavecin et l\u2019orgue positif), les Bor\u00e9ades se r\u00e9v\u00e8lent un ensemble de premier ordre. (Indispensable de La Scena Musicale)
\n\u2014 La Scena musicale (Qu\u00e9bec)<\/p>\n

\u2026 L\u2019orchestre est splendide \u2026 l\u2019ornementation est abondante\u2026 les deux choeurs extr\u00eamement expressifs du second acte, \u00abWretched lovers\u00bb et \u00abMourn, all ye muses\u00bb apr\u00e8s la mort d\u2019Acis, sont extraordinaires.
\n\u2014 Toccata<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”acis-galatea” in_content_menu=”in_content_menu” content_menu_title=”Acis & Galatea” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_empty_space height=”64px”][separator_with_icon icon=”fa-angle-down”][vc_empty_space height=”14px”][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”telemann” in_content_menu=”in_content_menu” content_menu_title=”Telemann” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_separator type=”transparent” thickness=”50″][vc_column_text]<\/p>\n

Telemann: Suites et concertos<\/a><\/h2>\n

Avec un style ainsi m\u00fbri, l\u2019ensemble montr\u00e9alais propose un disque d\u00e9lectable assorti d\u2019une prise de son naturelle et transparente.
\n\u2014 Le Journal de Montr\u00e9al (Qu\u00e9bec)<\/p>\n

\u2026 un disque r\u00e9alis\u00e9 par Les Bor\u00e9ades de Montr\u00e9al que dirige avec brio le fl\u00fbtiste Francis Colpron. [\u2026] La qualit\u00e9 de l\u2019interpr\u00e9tation n\u2019appelle aucune r\u00e9serve et le bonheur court d\u2019un bout \u00e0 l\u2019autre du disque.
\n\u2014 Guide Ressources (Qu\u00e9bec)<\/p>\n

\u2026 c\u2019est le fl\u00fbtiste Francis Colpron, un de ces musiciens qui transcendent litt\u00e9ralement leur instrument pour en faire le canal de l\u2019expression musicale pure, qui nous enchante le plus. Il y joue de la fl\u00fbte traversi\u00e8re aux c\u00f4t\u00e9s du violoniste Manfred Kraemer\u2026 [\u2026] Un ravissement.
\n\u2014 Voir (Qu\u00e9bec)<\/p>\n

It is simply wonderful Telemann playing.
\n\u2014 Early Music Review (Canada)<\/p>\n

L\u2019extraordinaire virtuosit\u00e9 des solistes est \u00e0 entendre\u2026
\n\u2014 La Presse (Qu\u00e9bec)<\/p>\n

Somptuosit\u00e9 du son, pi\u00e8ces de choix, virtuosit\u00e9 dans le dialogue des diff\u00e9rentes sections instrumentales: Magistral. D\u00e8s les premi\u00e8res mesures, le charme et la richesse sonore de cet enregistrement donne une ambiance somptueuse qui ne se d\u00e9ment pas tout au long de l\u2019enregistrement. [\u2026] Les instrumentistes des Bor\u00e9ades semblent soud\u00e9s par leur passion et cela s\u2019entend.
\n\u2014 Con Tempo (Qu\u00e9bec)<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”acis-galatea” in_content_menu=”in_content_menu” content_menu_title=”Acis & Galatea” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_empty_space height=”64px”][separator_with_icon icon=”fa-angle-down”][vc_empty_space height=”14px”][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”theatre-musical” in_content_menu=”in_content_menu” content_menu_title=”Th\u00e9\u00e2tre musical” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_separator type=”transparent” thickness=”50″][vc_column_text]<\/p>\n

Th\u00e9\u00e2tre musical<\/a><\/h2>\n

Avec un style ainsi m\u00fbri, l\u2019ensemble montr\u00e9alais propose un disque d\u00e9lectable assorti d\u2019une prise de son naturelle et transparente.
\n\u2014 Le Journal de Montr\u00e9al (Qu\u00e9bec)<\/p>\n

\u2026 un disque r\u00e9alis\u00e9 par Les Bor\u00e9ades de Montr\u00e9al que dirige avec brio le fl\u00fbtiste Francis Colpron. [\u2026] La qualit\u00e9 de l\u2019interpr\u00e9tation n\u2019appelle aucune r\u00e9serve et le bonheur court d\u2019un bout \u00e0 l\u2019autre du disque.
\n\u2014 Guide Ressources (Qu\u00e9bec)<\/p>\n

\u2026 c\u2019est le fl\u00fbtiste Francis Colpron, un de ces musiciens qui transcendent litt\u00e9ralement leur instrument pour en faire le canal de l\u2019expression musicale pure, qui nous enchante le plus. Il y joue de la fl\u00fbte traversi\u00e8re aux c\u00f4t\u00e9s du violoniste Manfred Kraemer\u2026 [\u2026] Un ravissement.
\n\u2014 Voir (Qu\u00e9bec)<\/p>\n

It is simply wonderful Telemann playing.
\n\u2014 Early Music Review (Canada)<\/p>\n

L\u2019extraordinaire virtuosit\u00e9 des solistes est \u00e0 entendre\u2026
\n\u2014 La Presse (Qu\u00e9bec)<\/p>\n

Somptuosit\u00e9 du son, pi\u00e8ces de choix, virtuosit\u00e9 dans le dialogue des diff\u00e9rentes sections instrumentales: Magistral. D\u00e8s les premi\u00e8res mesures, le charme et la richesse sonore de cet enregistrement donne une ambiance somptueuse qui ne se d\u00e9ment pas tout au long de l\u2019enregistrement. [\u2026] Les instrumentistes des Bor\u00e9ades semblent soud\u00e9s par leur passion et cela s\u2019entend.
\n\u2014 Con Tempo (Qu\u00e9bec)<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”acis-galatea” in_content_menu=”in_content_menu” content_menu_title=”Acis & Galatea” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_empty_space height=”64px”][separator_with_icon icon=”fa-angle-down”][vc_empty_space height=”14px”][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”private-musick” in_content_menu=”in_content_menu” content_menu_title=”Private Musick” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_separator type=”transparent” thickness=”50″][vc_column_text]<\/p>\n

Private Musick<\/a><\/h2>\n

A well-disciplined ensemble, the players achieve a subtlety of give and take with a seemingly infinite degree of tone colors akin to the best string quartet\u2026 Among the most satisfying [\u2026] discs to blow my way this past year.
\n\u2014 Toronto Early Music News (Canada)<\/p>\n

This talented group makes up what was called a \u201cbroken consort\u201d\u2026
\n\u2014 Classical Music Magazine (Canada)<\/p>\n

Among the most satisfying [\u2026] discs to blow my way this past year.
\n\u2014 Toronto Early Music News (Canada)<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”acis-galatea” in_content_menu=”in_content_menu” content_menu_title=”Acis & Galatea” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_empty_space height=”64px”][separator_with_icon icon=”fa-angle-down”][vc_empty_space height=”14px”][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”private-musick” in_content_menu=”in_content_menu” content_menu_title=”Private Musick” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_separator type=”transparent” thickness=”50″][vc_column_text]<\/p>\n

No\u00ebls<\/a><\/h2>\n

Une simplicit\u00e9 toute classique conf\u00e8re beaucoup de charme et de gr\u00e2ce au programme de ce disque, qu\u2019on r\u00e9\u00e9coute avec plaisir, cela va de soi\u2026
\n\u2014 Le Journal de Montr\u00e9al (Qu\u00e9bec)<\/p>\n

5 \u00e9toiles \u2014 Excellent
\n\u2014 La Scena musicale (Qu\u00e9bec)<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”acis-galatea” in_content_menu=”in_content_menu” content_menu_title=”Acis & Galatea” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_empty_space height=”64px”][separator_with_icon icon=”fa-angle-down”][vc_empty_space height=”14px”][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”beatles-baroque” in_content_menu=”in_content_menu” content_menu_title=”Beatles baroque” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_separator type=”transparent” thickness=”50″][vc_column_text]<\/p>\n

Beatles Baroque<\/a><\/h2>\n

The performance is delightful \u2026 Baroque music afficionados who are closet Beatles fans now have a \u201cwhite album\u201d of their own.
\n\u2014 American Recorder (\u00c9U)<\/p>\n

<\/h4>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”acis-galatea” in_content_menu=”in_content_menu” content_menu_title=”Acis & Galatea” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_empty_space height=”64px”][separator_with_icon icon=”fa-angle-down”][vc_empty_space height=”14px”][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”private-musick” in_content_menu=”in_content_menu” content_menu_title=”Private Musick” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” transition_delay=”500″][vc_column][vc_separator type=”transparent” thickness=”50″][vc_column_text]<\/p>\n

Beatles Baroque II<\/a><\/h2>\n

Les Bor\u00e9ades livrent un disque tout \u00e0 fait r\u00e9jouissant en reprenant quelques-uns des plus grands succ\u00e8s des Beatles. Essentiellement baroque, l\u2019instrumentation de cet ensemble se pr\u00eate tr\u00e8s bien \u00e0 ce jeu de m\u00e9tamorphoses, anim\u00e9 par le vent de libert\u00e9 que ravivent les chansons de John Lennon et Paul McCartney. Un disque franchement attachant et s\u00e9duisant.
\n\u2014 Le Journal de Montr\u00e9al (Qu\u00e9bec)<\/p>\n

Ce n\u2019est pas la premi\u00e8re fois que les Beatles go baroque. Mais c\u2019est la bonne. Car cette fois, les deux p\u00f4les exercent leur pouvoir. D\u2019un c\u00f4t\u00e9, le petit groupe diffuse des parfums on ne peu plus baroque\u2026. De l\u2019autre c\u00f4t\u00e9, Lennon et McCartney tels qu\u2019en eux-m\u00eames, respect\u00e9s non seulement dans l\u2019esprit mais dans le flux, la cadence, le beat et la mani\u00e8re m\u00eame. (5 Diapasons)
\n\u2014 Diapason (France)<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” 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”][vc_column][vc_separator type=”transparent” thickness=”50″][\/vc_column][\/vc_row][vc_row css_animation=”” 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”][vc_column][vc_column_text]<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

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Read More<\/a><\/p>","protected":false},"author":5,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3411","page","type-page","status-publish","hentry"],"yoast_head":"\nQuotes - Les Bor\u00e9ades de Montr\u00e9al<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.boreades.com\/en\/quotes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Quotes - Les Bor\u00e9ades de Montr\u00e9al\" \/>\n<meta property=\"og:description\" content=\"[vc_row css_animation=”” 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”][vc_column][testimonials_carousel category=”recordings” show_title=”yes” show_rating=”yes” author_image=”yes” show_navigation=”yes” navigation_style=”dark” auto_rotate_slides=”3″ text_font_size=”16″ author_text_font_size=”12″][\/vc_column][\/vc_row][vc_row css_animation=”element_from_fade” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” anchor=”nicandro-e-fileno” in_content_menu=”in_content_menu” content_menu_title=”Nicandro e Fileno” content_menu_icon=”” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.boreades.com\/en\/quotes\/\" \/>\n<meta property=\"og:site_name\" content=\"Les Bor\u00e9ades de Montr\u00e9al\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/boreades.demontreal\" \/>\n<meta property=\"article:modified_time\" content=\"2018-11-06T15:38:50+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.boreades.com\/wp-content\/uploads\/2019\/10\/les-boreades-montreal-orchestre-baroque-web.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2048\" \/>\n\t<meta property=\"og:image:height\" content=\"1366\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@LesBoreades\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"28 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.boreades.com\\\/en\\\/quotes\\\/\",\"url\":\"https:\\\/\\\/www.boreades.com\\\/en\\\/quotes\\\/\",\"name\":\"Quotes - 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