Posted yesterday at 7:00 a.m.
“Troubleful, sad and long. This is the preconceived idea that people often have of opera concerts, says Charlotte Gagnon. And, on certain points, they are not entirely wrong, concedes the mezzo-soprano, laughing.
“We love the environment. We love classical music, but…”, begins Laurence Lambert-Chan. “It’s filled with all kinds of clichés and dusty things,” continues the other half of the dynamic duo, who admits to having experienced a “love at first sight” when she met Laurence Lambert-Chan .
In 2015, when we met, we were on the same wavelength. We were excellent classical musicians, we mastered our technique well, but we wanted to go beyond that. We wanted to bring the opera closer to the public, to make people laugh, to bring a really sparkling energy through this music, which can sometimes seem a little austere.
Charlotte Gagnon
For their first show, the great friends paired classical music with clowning. Opera 101 was in no way soporific, confirms the duo. Especially not for the two performers. “Clowning while singing opera is really demanding,” admits the mezzo-soprano.
When Lionel Daunais meets La Bolduc
This fall, they present a new show which, once again, offers an astonishing fusion. “We bet on mixing folk music and classical music from Quebec,” explains Charlotte Gagnon.
Lionel and Maryis the fictitious meeting between the great opera singer Lionel Daunais and the popular Mary Travers, alias La Bolduc.
“Lionel Daunais tries to make a really funny song, so he asks La Bolduc for a consultation,” says Charlotte Gagnon, who slips into the shoes of the one who mastered the art of jigging like no other. Then follows a mixture of their two musical styles and the interpretation of some of the greatest hits of these two outstanding figures of Quebec: The little woolen dog, The Tourtiere, I have a pimple on the tip of my tongue or It’s coming, don’t be discouraged.
” In Lionel and Marywe insert the repertoire of spoken texts, so we are closer to comic opera or operetta”, specifies the singer.
“It’s a very lively, very sparkling, very colorful show. We get out of there and we’re in a good mood. We want to jiggle and tap our feet,” says Laurence Lambert-Chan, who plays Mademoiselle Colombe, “a very nervous little pianist.”
PHOTO ALAIN ROBERGE, THE PRESS
Laurence Lambert-Chan and Charlotte Gagnon
Like her character, the musician adores Lionel Daunais, interpreted on stage by baritone Pierre Rancourt. “I sang his songs to my son when he was a baby. I’ve always loved his music,” says the one who had long wanted to do a project that would showcase her pieces.
The idea of pairing his songs with those of La Bolduc came from Pascal Blanchet, friend of the duo and author of the show. The two artists evolved at the same time, recalls Laurence Lambert-Chan. “They never met, but they could have. »
“They represent two icons from two poles which, at first glance, do not mix,” adds Charlotte Gagnon. There, not only do they rub shoulders, but they inspire each other. They help each other. They create things halfway between classical and folkloric. »
It is truly a celebration of Quebec culture.
Laurence Lambert Chan
A party to which the whole family is invited. “We really try to include children in our shows,” says the pianist. “We fell in love with this audience,” adds the mezzo-soprano, who admires the imagination and frankness of young people.
Bringing classical music and theater to children is a mission that is so important to the two artists that they have also chosen to transform Rigoletta into a non-profit organization this year to ensure its sustainability.
Lionel and Maryat the Théâtre Alphonse-Desjardins, in Repentigny, on Sunday.