The records and concerts of Angèle Dubeau and the La Pietà orchestra are well established in the Quebec musical landscape. Discussion with the violinist on the occasion of the release of their latest album and their concert on November 27 at Place des Arts.
1er October 1977, the Perspectives notebook of The Press presents on the cover the photo of a teenage girl leaning on a violin case, her gaze sure and determined. Aged 15, Angèle Dubeau then had a first prize in violin from the Conservatoire (a feat at such a young age) and a $200,000 Stradivarius that the Acadian virtuoso Arthur Leblanc entrusted to her after having received it. heard playing.
Journalist Nicole Charest writes: “Angèle is criticized for her young age and the organization of her program. The exhibitionism of the pieces she performs. […] What is certain is that Angèle, in the midst of so many honors, knew how to keep a cool head. With composure and courage, she integrates herself, gentle, kind, but sure of herself, into this gigantic mechanism which must make her a soloist. […] She’s amazing. She wants to do everything well. She does everything well. He is promised a very good career. »
A prolific musician
The young musician would probably not have thought that she would have 48 albums to her credit 46 years later and more than 200 million continuous listens, an unknown concept at that time when vinyl reigned supreme and where “information superhighway” was still only a distant promise.
“Sometimes, I think about the figures around me and I’m impressed myself,” admits Angèle Dubeau, who, at 61, has lost none of the enthusiasm of her 15 years.
Before I walk onto a stage, I’m like a ram, a bull picking at the ground, just can’t wait to get in. The day I enter the way I enter my kitchen, it will be time to stop.
Angèle Dubeau
The musician was a pioneer of classical recording in Quebec with her husband François-Mario Labbé, founder of the Analekta label. The 1990s were devoted to recording the great works of the violin repertoire, including concertos by Mendelssohn, Tchaikovsky and Sibelius and sonatas by Schubert, Fauré and Debussy.
But the violinist quickly took a more “thematic” path (dance programs, lullabies, film music or video games, etc.), favoring what some would describe as “light” classical (English speakers speak of ‘easy listening).
“I’m not afraid of the word ‘popular’. Good music remains good music, and from there, I don’t put any barriers or prejudices. I am open to everything. Some musicians will stay in their bubble, they want to remain isolated, cataloged. It’s their choice, not mine,” retorted the one who received her 19e Felix at the beginning of November.
Minimalism
His latest album, Signature Philip Glassexcerpts of which will be played at the Maison symphonique on November 27, constitutes her second disc dedicated to the pope of minimalism, a movement which she has also deepened with discographic portraits of John Adams, Arvo Pärt, Max Richter and Ludovico Einaudi.
PHOTO ROBERT MAILLOUX, LA PRESSE ARCHIVES
Angèle Dubeau in 2004, in concert at the Montreal Casino
It was in the 1980s that Angèle Dubeau discovered Glass’s music.
There are some who like it, there are some who don’t like it, but for me, it came to captivate me. I was like, “Wow, look, we’re reinventing things!” and I felt very challenged. It’s music that came to me easily.
Angèle Dubeau
The one who gradually came to work personally with Glass is delighted to return to his music. “His office told me: “Angèle, do what you want, we trust you.” I had carte blanche, and that was a gift from heaven. I asked for scores and received them within a week. I got a yes to everything. It was a joy to be able to dive into that! »
To those who might question her musical preferences, the musician doesn’t beat around the bush: “If I’m still here and the public is still here today, it’s because I was honest with my choices, my tastes. If there’s one place you can’t cheat, it’s on stage. »
Concerts for the holiday season
A Christmas on your ropes
Les Petits Violons and the Ensemble Jean Cousineau, made up of professionals from different orchestras in the metropolis, will meet on December 3 (4 p.m.) at the Saint-Pierre-Apôtre church for a unique Christmas concert of its kind. In addition to works for string orchestra such as the St. Paul‘s Following of Holst and the Sinfonietta de Roussel, spectators will be able to hear Christmas performances featuring the giggeur and percussionist Olivier Arseneault.
A new Pellerin at the OSM
Kent Nagano returns to Quebec for another tale with Fred Pellerin from December 14 to 17. With his usual patter, the latter will narrate Polichignon’s secret, the colorful story of a barber from Saint-Élie-de-Caxton. The OSM will liven up the evening with well-known works by Chopin, Tchaikovsky, Mussorgsky, Rimsky-Korsakov and Mahler, but also numerous discoveries, including a creation by Quebecer Maxime Goulet.
A Christmas of yesteryear
The Maîtrise des Petits Chanteurs du Mont-Royal was founded in 1956 following a model that dates back to the Middle Ages. The approximately 200 boys aged 8 to 17 receive advanced training in music, in addition to following a regular school program. Their recordings and tours around the world have established their reputation. We will therefore be happy to hear them at home, at Saint-Joseph’s oratory, for a major Christmas concert under the direction of their conductor Andrew Gray. It’s Sunday, December 17 at 3:30 p.m. and it’s free (voluntary contribution).
The essential Messiah
December is obviously the month of Messiah by Handel. The most exclusive this year will undoubtedly be that of the Orchester Métropolitain, given on December 19 and 20 in the immense vessel of the Notre-Dame basilica. Yannick Nézet-Séguin will be surrounded for the occasion by soprano Magali Simard-Galdès, contralto Rose Naggar-Tremblay, tenor Spencer Britten, baritone Philippe Sly and an ensemble of professional choristers.