Back then it was only him, a loop pedal and a violin on a makeshift stage playing to a sparse crowd of nerdy teens including myself. My only night as a Cool Teenager.
The opera that launched the young Giuseppe Verdi’s career, Nabucco premiered in Milan in 1842.
Now one year old, the Artefact nights at Le Bleury and Cabaret Underworld offer a rare space in Montreal for sophisticated and experimental explorations of breakbeat genres.
The Mary Ann Lacey Trio played it cool with a lineup of good old classic jazz standards over at the House of Jazz.
The Chateauguay Valley’s Durham County Poets are compelling performers and talented musicians whose new album features an eclectic blend of folk, blues, rock and even gospel.
Montreal-based DJ and producer Ohm Hourani is the founder of Montreal’s newest record label, Anoma, which launched with a bang this past weekend at Piknic Elektronic.
Forever Broadway is the latest annual musical compilation playing to full houses in, alas, all too short runs, joyfully performed by Montreal’s Lyric Theatre Singers.
Held at Montreal’s newest music venue La Vitrola, the launch of local artist Catherine Kidd’s latest CD/book combo was a theatrical treat, backed by a roster of great local talent.
Rover looks back on the standout acts of EM15, and reflects on the road ahead: Will the marriage between Elektra and MUTEK last, or should we look towards an amicable divorce?
The MAC’s hosting of EM15 signals the Montreal establishment’s embrace of the digital fringes. Have Elektra and MUTEK become “high” culture?
A Classical music concert in a writer’s festival? I Musici sets George Sand’s love letters to Chopin as a backdrop to their Romantic period concert, showing that it isn’t just with words that stories are told.
Call it a critical mass, or call it a fateful synergy: MUTEK, Elektra and Laïka all turn 15 this year, and EM15 marks the crucial convergence of milestones.
The vibes were resonating at the Théâtre Ste. Catherine with the now third annual presentation of Jesus Christ Superband, the improv-related spoof of cult hit Jesus Christ Superstar.
Looking elegant, Karina Gauvin set the mood with the opening section, comprising one line and delivered with implosive force: “J’ai seul la clef de cette parade sauvage.”
Montreal vocal ensemble VivaVoce is nothing if not adaptable. Unusually, they seem equally adept at everything from John Cage to the Renaissance, which is the focus of this sumptuous new recording, their sixth.