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Silent Night by Kevin Puts closes L'Opéra de Montréal's 2014-2015 season and is notable for revealing a formidable all-Canadian cast of principals.

Julian Kuerti leads an inspired Orchestre Metropolitain in performances of Pelléas et Mélisande by Fauré, Sibelius and Schoenberg.

Marie-Nicole Lemieux tackles Saint-Saëns' Dalila for the first time and exceeds all expectations. 

The OSM chorus and a well-matched quartet of Canadian soloists dominate the OSM’s Messiah conducted by Andrew Megill. 

Swedish soprano Miah Persson dominates the Orchestre symphonique de Montréal’s enterprising Romantic Lieder program conducted by Kent Nagano.

I Musici di Montréal join forces with the Studio de musique ancienne de Montréal to present Mozart's Requiem in Robert Levin's revised arrangement of the unfinished masterpiece.

Billed as “Midori performs Mendelssohn’s Violin Concerto”, this Orchestre symphonique de Montréal concert conducted by James Colon was notable for a blazing performance of Zemlinsky's symphonic poem Die Seejungfrau.

Yannick Nézet-Séguin, the chorus and several soloists star in a dramatic version of Bach's St Matthew Passion in which l'Orchestre Métropolitain was less distinguished. 

Michel Plasson returns to l'Orchestre symphonique de Montréal in a program of French music and Karina Gauvin resplendent in Britten's Les Illuminations. It was an object lesson in how to capture the essential essence of French music. 

Handel's Solomon is given a revelatory performance by an all-star cast of principles, La Chapelle de Québec and the Violons du Roy under the direction of Bernard Labadie.

Richard Turp sees L’Orchestre symphonique de Québec and conductor Fabien Gabel impress greatly in a program of twentieth century classics by de Falla and Ravel at the Maison symphonique.

In Montreal Richard Turp discovers a modern-day Pied Piper of Hamelin, Maurice Steger in music of 18th century Naples accompanied by Les Violons du Roy 

A substantial musical menu of works by Wagner, Liszt and Berlioz, the poster boys of 19th century Romanticism, along with a world première, presented by l'Orchestre symphonique de Montréal, Marc-André Hamelin and Kent Nagano. 

A concert of music by Rameau and Gluck featuring Bernard Labadie and his Violons du Roy provided respite from a cold winter’s night in Montreal.

After a wondrous voyage of discovery and a rousing standing ovation, everyone seemed convinced of Salomone Rossi’s neglected genius and Profetti della Quinta’s supreme quality.

The Opéra de Montréal's production of Porgy and Bess is both an artistic success and a reaffirmation of the work's importance.

Richard Turp sees Vivaldi's oratorio Juditha Triumphans triumph at its Montreal premiere in a sparkling performance by Ensemble Caprice

Marie-Nicole Lemieux and Yannick Nézet-Séguin score personal triumphs with l’Orchestre Métropolitain in their first concert together in thirteen years.

This seemingly disjointed program from Jacques Lacombe and the Orchestra Symphonique de Montréal included music by Berlioz, Dvořák and Ravel, in addition to a new work by Serge Arcuri: all voyages of complementary but fundamentally different kinds.

On Friday 4 October at the Maison Symphonique in Montreal, Show One Productions in association with l’Orchestre Symphonique de Montréal presented the visiting Mariinsky Theatre Orchestra of St Petersburg conducted by its music director for the last 25 years, Valery Gergiev.

Conductor and wunderkind Yannick Nézet-Séguin returned home to Montreal to lauch the 33rd season of L’Orchestre Métropolitain with a concert dedicated to compositions written or created a century ago in 1913.

L’Opéra de Montréal opened its 2013/14 season with a revival of Léo Delibes’ major operatic success, Lakmé. Rarely performed today, the story revolves around a romance between a colonial British officer, Gérald, and a Brahma priestess, Lakmé, in 19th-century India.

Antonio Vivaldi’s three-act opera seria Motezuma was created in Venice in 1733 (months after Handel’s extraordinary Orlando in London) but was thought lost until a manuscript turned up in Germany in 2002. The story is a romanticized and fanciful adaptation of the destruction of Motezuma’s Aztec empire in Mexico by the Spanish armies of Fernando Cortés in the early 16th century.

Manon was not only central to Jules Massenet’s claim to international celebrity after its creation in 1884, it remains at the heart of the operatic repertoire and Massenet’s popularity today. Manon returned to the stage of L’Opéra de Montréal on 18 May after a lengthy absence to close the company’s 2012/13 season.

Montreal’s favourite musical son has become something of a world favourite in recent years. The Music Director of both the Philadelphia Orchestra and the Rotterdam Philharmonic Orchestra, Yannick Nézet-Séguin is also Principal Guest Conductor of the London Philharmonic Orchestra and the Principal Conductor of his native city’s Orchestre Métropolitain.