The idea is good: take advantage of the 50th anniversary of the release of Beau Dommage’s first album to celebrate one of the most influential groups in Quebec music. But despite all the goodwill in the world and all the work that went into it, this symphonic tribute, presented for the first time Friday night at Salle Wilfrid-Pelletier at Place des Arts, remained stuck in its good intentions and lacked life.
For just over 90 minutes, 11 performers, accompanied by the Orchestre Métropolitain conducted with dedication by Adam Johnson, sang around fifteen songs by the legendary group.
Perhaps it was the pressure of the moment, but the troupe often felt uncomfortable and intimidated by the symphonic decorum – some literally forgot to smile throughout the evening.
It must be said that starting with Montrealone of Beau Dommage’s slowest and most emotional pieces, was a bold choice to launch a show.
Lack of cohesion
The start of the evening was thus hesitant for several songs, but the vocal performances lacked coherence throughout the evening – between the sparing on one side and the restraint on the other, sometimes in the same room, one had the impression that some performers were not playing in the same show as the others.
The nervousness, and probably also the difficulty of the scores of Beau Dommage, meant that the harmonies, which were nevertheless the strength of Michel Rivard, Pierre Bertrand and Marie Michèle Desrosiers, lacked fluidity. However, these are talented artists who were recruited for this show – several, at least half, come from television competitions such as The voice And Star Academyothers are talented professional choristers. Surprising that the mayonnaise did not take to this point, despite their obvious individual skills.
PHOTO MARTIN CHAMBERLAND, THE PRESS
Jules, Krystel Mongeau and Franck Julien, three of the evening’s performers
Antoine Gratton’s orchestrations allowed these melodies that we have always known to unfold.
The musician and arranger, who also played keyboards, knows how to emphasize particularities and thwart expectations – we applaud the judicious use of the harp in several places, such as during The woodpeckerbut this is just one example among many.
Like the Charlebois Symphonic presented last week, one wonders however if it would not have been wiser to do without the amplified instruments and the rock rhythm section altogether: the bass and the guitar sometimes took up far too much space, and on certain pieces, the drums literally buried the orchestra. Not the fault of the always excellent Robbie Kuster, who even did a charming little handsaw solo on Evening harmony in Châteauguaybut what a waste not to be able to let yourself be completely carried away by the OM musicians.
PHOTO MARTIN CHAMBERLAND, THE PRESS
David Latulippe during the dress rehearsal of Beau Dommage Symphonique
Beautiful moments
There were also some beautiful passages during the evening. Audrey-Michèle who delivers a truly embodied version ofEvery timeand who finally blows a kiss to Marie Michèle Desrosiers, sitting on the balcony. When Rose goes to her son’s houseperformed with great delicacy by Sophie Grenier – a moment of grace, in fact. Krystel Mongeau, who takes over the Return of the flâneur with panache to make it a real rock song.
The fun really started to set in – it was about time! – in the final third with December 23, Ginette – phenomenal Lyxé! – and All palm treesthen with the audience choir who were just asking to sing along The Seal’s Lament in Alaska.
PHOTO MARTIN CHAMBERLAND, THE PRESS
Conductor Adam Johnson led the Orchestre Métropolitain and the performers.
The showpiece of the evening was the full version ofAn incident in Bois-des-FilionBeau Dommage’s 20-minute prog song, which features on the band’s second album, Where did the wedding go? With the almost complete troupe standing around the orchestra or even between the musicians, we were treated to the best of what this kind of evening can offer in terms of staging, arrangements – this time, the presence of electric instruments was justified – and interpretation.
The evening ended with an explosion: suddenly, Antoine Gratton found himself elevated and threw The blues of the metropolis with all the dog we know him for. “Are you there, Place des Arts?” he called out to the crowd standing for the first time. It was a little late to try to set the place on fire, but it allowed us to see… everything that the show was not, and everything that it could have been.
The most moving moment, as expected, was when the members of Beau Dommage who were present in the room came on stage at the end to greet the crowd. So much love and affection circulated that the atmosphere suddenly became warm and sweet. We could have spent much more time showing them how much their songs have made our lives happier. And that they will never be as beautiful as when they are the ones singing them.
Beau Dommage symphonique will be presented again in Montreal this Saturday. The show will then be presented in September in Trois-Rivières, Sherbrooke and Quebec City.
Check out the show page