The 2022 Lanaudière Festival concluded with two concerts by the Orchester Métropolitain, including, on Saturday, a first act of Wagner's La Valkyrie entering directly into the pantheon of the history of the largest classical gathering in Canada.

Christophe Huss, Le Devoir


Crédit photo : agence Big Jaw
Amphithéâtre Fernand-Lindsay

Mendelssohn and Schumann: two brilliant stars whose careers ran parallel, each in his own way a bridge between Beethoven and the apotheosis of German Romanticism, between proportioned Classical form and the sweeping art of Wagner. With Schumann, we have scene painting and nostalgic reminiscences and with Mendelssohn, instrumental bravura—witness this exciting encounter between Yannick Nézet-Séguin, the Orchestre Métropolitain and the sublime pianist Hélène Grimaud, who makes her Festival debut.

Amphithéâtre Fernand-Lindsay

With his grandiose tetralogy, The Ring of the Nibelung—the famous “Ring” cycle—, Wagner revolutionized opera’s musical language and theatrical scope. The cycle stands as an achievement of gigantic proportions rooted in the foundational mythology of the Nordic peoples, heirs to Ancient Greece, yet modern in its allegory of society, power and love. From the first act of Die Walküre, the second of the four operas, Yannick Nézet-Séguin unleashes the living force with the help of three of today’s greatest Wagnerian singers. An epic evening, after the resounding concert versions of Lohengrin in 2013 and Parsifal in 2017.

Crédit photo : agence Big Jaw
Crédit photo : agence Big Jaw
Église de Saint-Norbert

Some mutual affinities transcend generations. This certainly is the case for William Christie and the rising stars Lea Desandre and Thomas Dunford, who all share many musical and personal insights. One revealed the other two to the general public, and though many years separate them, all three possess outstanding musical audacity, brilliance, and imagination. Savour delicious Baroque nuggets by Charpentier and Lambert, mélodies by Offenbach … and a few surprises offered by the young artists in whom great gifts converge—splendour of vocal tone, bravura, charisma, depth, and refinement.

Église de Sainte-Mélanie

Here is a truly rare event: three days following the concert by Les Arts Florissants at the Amphitheatre, their founder and musical director William Christie joins their new concertmaster, cherished by the European Baroque milieu, crowned Révélation at France’s Victoires de la musique classique, for an intimate recital in one of our most beautiful churches. The master and his disciple invite us to experience the spellbinding sonatas of Leclair and his contemporary Senaillé, and to take part in a prodigious Baroque feast.

Crédit photo : agence Big Jaw
Cathédrale de Joliette

Of all the composers of the grand siècle to whom William Christie and Les Arts Florissants have tirelessly devoted themselves for over 40 years, Marc-Antoine Charpentier is perhaps the most emblematic. This concert is the sacred counterpart to the secular “feast” of the previous Saturday at the Amphithéâtre: an immersion in the religious music of a great master of the French Baroque, a moment of grace between fervour and contemplation. Among other gems, the public will have the opportunity to rediscover the majesty of the Magnificat, H. 77, the awe-inspiring serenity of the Litanies à la Vierge, and the virtuoso writing of the Nuptiae sacrae—a nuptial dialogue evoking the relationship of Christ to His Church.