The Montreal Classical Orchestra (OCM) paid tribute on Tuesday to bass Joseph Rouleau. The singer and administrator who died on July 19, 2019, was, among other things, a former president of the board of directors of the OCM and a great friend of Boris Brott.
The OCM brought together four very well chosen singers for a program of famous tunes. Among them, Philippe Sly owes a lot to “Jo” Rouleau since he was a winner of the Montreal International Musical Competition, launched by the tandem Joseph Rouleau and André Bourbeau. The bass-baritone, which we had not heard for some time, was particularly illustrated in “Elle ne m’aime pas” from Don Carlos by Verdi, where he demonstrated remarkably clear pronunciation and an effectively placed voice. He also found (like his colleague Mireille Lebel) a very appropriate tone and voice in the two songs by Félix Leclerc, Me my shoes And Hymn to spring. This compliment is not anecdotal: it is a quality very rarely shared among opera singers. On the other hand, we heard him more confused vocally in Don Giovanniwhere the broadcast seemed covered, as if a little veiled, something that he cleverly hid by multiplying the effects.
The soprano wins
Another determined, endearing, but uneven singer: the tenor Éric Laporte, intrinsically remarkable, at ease in his “Celeste Aïda”, despite a last stressed high note, stylistically very accurate in Don José, and at his best in the air of Kleizach of Hoffmann’s Talesbut strangely scruffy in Traviata And Rigoletto.
We were very happy to finally hear Mireille Lebel again, especially her Carmen, which seems obvious to us in terms of vocal suitability and potential stage temperament. But it was Aline Kutan who won the votes, with the great air of La Traviata And the one of Lakme. The highs are assertively powerful, but above all the “cutting” of the music is a pleasure to hear: it’s accurate, solid and seated.
It’s been a few months since we last heard from the OCM and it’s a great pleasure to hear how quickly Jacques Lacombe’s work is bearing fruit. We always had in mind that the reforms made to the OCM, its judicious programming policy – certainly very opportunistic -, the leadership and strategic vision of Taras Kulish would bear fruit. This, now associated with a musical direction of this ilk, will allow this ensemble, once a bit of a “third wheel of the carriage”, to become in the short or “short-medium” term the reference chamber orchestra of the Metropolis.
A new system
Tuesday was also the opportunity to follow the concert on phones and tablets thanks to NEX-périence. This was a first for us and it is rather conclusive: black screens with white writing do not interfere, if we take care to remove ringtones and vibrators and lower the brightness, and the process allows us to instill brief and relevant information such as the contextualization of the tunes. On the other hand, the process clashes with the habits of spectators to put away their phones. Despite, therefore, the information duly transmitted by the excellent host Sylvia L’Ecuyer (very well aware of Joseph Rouleau’s career and who provided relevant information) few people used the system.
Last general thought: there is a time for everything and a place for everyone. This final concert of the OSM season was given at the Maison symphonique while outside the Francos were in full swing. In the past, the seasons all ended at the end of May. In June the festivals began. The very dynamic and inventive Marc Boucher, creator of the Classica Festival, noted that when he founded his Festival 13 years ago in the period, roughly speaking, from 1er on June 15 there was nothing, no competition. Now it’s almost delirium. On the one hand because other festivals have changed dates, which is entirely possible and feasible, but also because certain organizations are now extending their seasons.
It started with Yannick Nézet-Séguin, whose busy schedule seemed to accommodate a date in Montreal in mid-June to finish his season at OM. But if now everyone gets involved it no longer makes sense. Not only is the festival period festival-filled. But we also wonder if the OCM is doing itself a favor by sending its customers into this tumult. In short, there are things to be reframed before it gets worse.