Saturday, February 28, 201511:00 pm
- In person
Works by Burman, Darnel, Galand, Gauvreau, Grégoire, Jacques, Julien, Lorello, Maranda, Pappathomas, Quesnel, Scelsi, Vadeboncœur and Warrington.
Discover the all-nighter in a new light! André Pappathomas and the Ensemble Mruta Mertsi capture Complexe Desjardins for an event as vast as its limitless area. Inspired by the imagery of Francis Bacon’s Papes hurlants, this performance will bring together invented instruments, strings, winds and brass and 150 voices. The musicians and the public will transform this space into a contemporary cathedral where the music incredibly resonates to the echoing lights.
Sarah Albu, soprano; Audrey Côté, soprano; Janet Warrington, soprano; Hiather Darnel, mezzo; Annie Jacques, mezzo; Marie-Annick Béliveau, alto; Anne Julien, alto; Julie Marchand, alto; Mélanie Rouleau, alto; Maxime Galand, tenor; Mathieu Grégoire, tenor; Stéphane Lorello, tenor; André Beaudoin, bass; Sylvain Chartier, bass; Martin Quesnel, bass; Alain Vadeboncœur, bass
André Pappathomas, conductor
Rachel Burman, cello
Lori Freedman, bass clarinet
Olivier Maranda, percussion
Coproduction MNM / Mruta Mertsi / Complexe Desjardins, codiffusion Montréal en lumière
Word from the Director
Since the very beginnings of l’Ensemble Mruta Mertsi in 1993, I have worked at developing a technique of controlled improvisation for vocal ensemble; this method effectively turns each singer into a creator and each passing moment of the piece into an act of creation, in the absence of which the piece could not exist. With time, I came to ask that each singer invent a short solo, an autonomous composition inspired by the form of the japanese haïku. In Les Papes hurlants these sung “haïkus” formed the starting point and the inspiration for much of the musical material of the work. I met with each chorister individually to help them develop a “contemporary” aspect to their compositions, all the while striving to achieve a certain consistency of style between the various solos. These short pieces, which I went on to create arrangements for, are now an integral part of the overall work, vital to and strongly informing its essential character.
The presence of the Chœur Bref and the theatricality of its vocalisations magnify for me a sense of emotionality and humanity that I hope to propel into this immense space. This ephemeral choir also allows us a spatialisation of the vocal sounds, which gives us the impression that we are, in some way, honoring the space – underscoring the human, emotional dimension of the work.
— André Pappathomas