In the lunar calendar, the 15th day of the 8th month marks the annual Mid-Autumn Festival, a celebration of the harvest moon at its fullest and brightest. This significant day is a time of gratitude in many East and Southeast Asian countries for community and the season’s bountiful harvest. This occasion also symbolizes gathering, commemoration, and harmony among people — themes prominently emphasized in Rencontre Lyrique Chine-Canada (Chinese-Canadian Lyrical Gathering), a concert held in Montreal’s beautiful Botanical Gardens on Sept. 14th.
Seven young Canadian and/or Chinese opera singers were featured, showcasing the power of music to unite cultures. These performers — Corey Arnold, Caroline Gélinas, Lili Feng, Matthew Li, Théo Raffin, Sara Schabas, and Lucie St-Martin — delivered a diverse program of 16 solo opera pieces. The repertoire included well-known works by Georges Bizet and Giacomo Puccini, as well as pieces I had not heard before written by Chinese composers.
Arnold’s most impressive aria was “Ch’ella mi creda” from Giacomo Puccini’s La fanciulla del West. He displayed bright tone throughout, conveying lots of emotion in both his singing and demeanour. Arnold received enthusiastic applause for “O sole mio,” one of the afternoon’s more familiar pieces. He also sang “That is me,” a Mandarin song by Gu Jianfen about nostalgia for one’s hometown.
Gélinas’ Mandarin song was “I love you, the snow of the north of the Great Wall” by Liu Xijin. She shone most brightly in two well-known pieces from Carmen — the “Habanera” and “Séguedille.” Her mezzo conveyed strength, delving into darker and more dramatic tones in its lower registers while confidently navigating the melismatic passages of the “Séguedille.” The “Habanera” particularly suited Gélinas, complementing her range and poise.
Li was a standout performer, with his vibrant stage presence and rich, commanding voice making a strong impression. He sang four selections, including “Listen to the Rain” by Yuanren Zhao and “Madamina” from Mozart’s Don Giovanni. The bass’s rendition of Charles Gounod’s “Vous qui faites l’endormie” from Faust was especially entertaining, his evil and hearty laughs enhancing the iconic piece’s charm. While his performance of mocking contempt was impressive, he was even more successful in another gentler piece by Zhao, “How can I not to reminiscent him.” Despite the possibly mistranslated title, his well-articulated Mandarin shone in this melancholic and emotional song.
Schabas — this year’s winner of McGill University’s Schulich School of Music’s Wirth Vocal Prize — initially seemed nervous but quickly impressed with her clear tone. She skillfully navigated the shifts between tenderness and intensity in “Quando m’en vo” from Puccini’s La Bohème. Schabas also sang “Pamier, how beautiful is my homeland” by Zheng Qiufeng, capturing its upbeat rhythm and lively tone.
St-Martin was another standout, captivating with her performance of “Je suis encore toute étourdie” from Jules Massenet’s Manon as well as “Prairies in July” by Shang Deyi. Her bright soprano and dainty giggle in the former conveyed wonder and amazement, while “Prairies” showcased her ease with light, jaunty notes and clear descending octave leaps. Her Mandarin pronunciation was also impressive, demonstrating strong control over such a tonally reliant language.
With such a talented lineup, it was a shame that Raffin and Feng only performed one solo each; their contributions were highlights of the concert. Raffin, like Gélinas, chose a piece from Carmen, “Votre toast.” His enunciation was impeccable, and the aria suited his range well. Although he lacked a full ensemble for the iconic “Toréador!” section, his confidence and bravado made a strong impression. Feng, in a stunning blue and white dress reminiscent of Chinese porcelain, sang “Jin Se” by Wang Long. Her soprano voice was melodic, bell-like in its clarity, and sweet, with deep emotional resonance.
A touching speech on camaraderie, cultural unity, and bridging China and Canada—aptly reflecting the concert’s theme—was followed by “Song of Yangtze,” performed by all seven singers along with event organizers and officials. Not mentioned in the program credits was another key performer, Giancarlo Scalia. He played piano for every piece with enthusiastic talent, adapting to each piece’s style and mood. As the sole instrumentalist, his contribution was crucial in adding depth to each solo performance.
Chinese Garden, Montreal Botanical Garden. Photo: Espace pour la vie (Raymond Jalbert)
Qualms:
I’ve previously discussed the many merits to music en plein air, but in this case, the concert’s stunning location in the Chinese garden with a large pavilion backdrop somewhat diminished the event’s seriousness. The acoustics were less than ideal, and the presence of chatty bystanders and a dwindling audience — likely due to the heat — detracted from the performance. Despite these challenges in such a distracting environment, the singers deserve credit for maintaining their focus and morale. Additionally, the piano’s volume drowned out the singers in a shocking number of pieces, an issue more related to technical setup than to Scalia or the performers themselves. The open-air setting made it difficult to hear and understand some of the pieces.
Despite these technical issues, this was an enjoyable event that felt like a sampler, offering a diverse range of vocal ranges and musical styles. It was a charming tribute to the Mid-Autumn Festival and, for many, served as an excellent introduction to opera.
Concert organized by Théâtre Lyrichorégra 20
