Browsing: Dance

Recent announcements from Minister of Culture Nathalie Roy have received mixed reviews from professionals in the field, in particular those working in the performing arts. In an open letter, Stéphane Laforest, conductor of the Orchestre symphonique de Sherbrooke and the Sinfonia de Lanaudière, argues that government assistance only benefits part of the industry and neglects those employed as performers. At first, like many of my colleagues – especially people from the performing arts – I felt critical of the minister of culture. We were all shaken after two press conferences which announced the opening of drive-in cinemas and the allocation…

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Minister of Culture and Communications Nathalie Roy announced today a cultural relaunch plan with a budget of $400 million. Nearly $290 million will be invested in 2020-2021, including $110 million in additional investments for the current fiscal year. The purpose of the relaunch plan is to enable Quebec cultural organizations and artists who suffered during the Covid-19 crisis to resume their activities as quickly as possible, particularly with the help of digital platforms. The budget presented aims to: Support film and television production ($91.5 million) Support businesses and cultural organizations in resuming their activities ($71.9 million) Support innovation and creation…

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FEBRUARY Montreal choreographer Louise Bédard celebrates 30 years of her eponymous company with Promesses, performed by six talented dancers alternating duos and counterpoints. Wilder Building, Feb. 5 to 8. www.agoradanse.com The productive duo Philippe Meunier and Ian Yaworski will teach four new dancers how to dance a jig in Suspendu au sol. The other piece of the evening is Pythagore mon corps, choreographed by Stacey Désilier. She answers the question: How to combine the individuality of performers, seriousness and musicality? By mingling martial arts, urban dance and boxing, of course! Wilder Building, Feb. 6 to 9. www.tangentedanse.ca London choreographer Jamila…

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After denouncing the dissonances of the human condition, Jean-Sébastien Lourdais has chosen to embrace the somatic approach. Les appuis imaginés, the newest creation by the performer-choreographer, is part of this quest for harmony and tenderness. In 2002, Lourdais founded his company Défaut de fabrication, a name that would later evolve into Fabrication Danse. Trained in his native France and UQAM, he has made his mark with dramatic and demanding works with strong social connotations (he collaborates with sociologist Marc Laplante), which have been successful from here to Europe. Later on, he put the foundation of his approach into question and…

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Reached in Cacouna, QC, where he watches the gentle ballet of ice on the river, Paul-André Fortier reflects on the 45 years of his career with sincerity and humility. “I discovered contemporary dance a bit by chance, as an adult, while I was a professor of literature at the Cégep in Granby,” he says. “I taught a course called Poésie, roman, théâtre et essai.” It was through a colleague that he applied for a three-week internship in Montreal in the summer of 1972, at the school of Groupe Nouvelle Aire, directed by Martine Époque, who immediately recognized in him the…

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Having known each other since school 20 years ago, Maude Sabourin and Raphaël Bouchard are totally at ease. They interrupt, finish each other’s sentences and speak simultaneously when their thoughts converge. The same applies when they dance. In the early years of this century, they attended the Jeune Ballet du Québec under the direction of Didier Chirpaz. After that they joined the Ballets de Monte-Carlo under Jean-Christophe Maillot, though at different times, he before her and for 10 years, she until her arrival at Les Grands Ballets Canadiens in 2018, where they met once again. Whether on stage or in…

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My works are the children of my knowledge of music and pain,” wrote Franz Schubert in his notebooks. Inspired by the Schubertiades, the musical and literary evenings during which the prolific Austrian composer played piano with the poets, singers, musicians and painters who made up his circle, Winterreise (Winter Journey) is a romantic cycle of 24 Lieder, small pieces for piano and voice, composed two years before his early death at the age of 31. The lyrics of Winterreise are taken from poems by Wilhelm Müller. Franz Schubert uses about one note per poetic foot, producing a melancholy work that…

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Les Ballets Trockadero de Monte Carlo, founded by aficionados in 1974, has become a veritable institution. Established in New York, the company is only Monegasque by name; the offbeat, comical version of the classical ballet it offers, in parody and in drag, quickly found an echo in the media and among the public. Imagine a troupe of young men dressed in tutus and moving en pointe, with an irreproachable technique. Marginal at their beginnings, the “Trocks,” as they call themselves, are today undoubtedly on the cutting edge. Why choose ballet when soccer and karate exist? In Italy, as in many…

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My works are the children of my knowledge of music and pain,” wrote Franz Schubert in his notebooks. Inspired by the Schubertiades, the musical and literary evenings during which the prolific Austrian composer played piano with the poets, singers, musicians and painters who made up his circle, Winterreise (Winter Journey) is a romantic cycle of 24 Lieder, small pieces for piano and voice, composed two years before his early death at the age of 31. The lyrics of Winterreise are taken from poems by Wilhelm Müller. Franz Schubert uses about one note per poetic foot, producing a melancholy work that…

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Thanks to amplification – yes, the Ballet has no qualms about using microphones to enhance choristers and soloists – the musical experience was satisfying, no, rewarding in normally dungeonous Wilfrid-Pelletier.Twenty years ago, ballet seemed to be third place behind the OSM and the Opéra de Montréal. No longer. This season’s opening production of Carmina Burana is fast selling out for its 9 performance run at Salle Wilfrid-Pelletier’s 2552 seat configuration (the Balcon is closed off). That’s 22,968 seats versus 11,984 in Opéra de Montréal’s four performance productions (recently Tchaikovsky’s Eugene Onegin) in SWP’s 2996-seat capacity, and 6,300 in the OSM’s…

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