Christina Volpini is a composer, pianist, and writer based in Montréal, Canada. Currently pursuing a Masters in Composition at McGill University, she writes for publications such as Bachtrack and Music & Literature. Christina is a new music enthusiast and an organizer of the Montréal Contemporary Music Lab.
The Orchestre Symphonique de Montréal and Kent Nagano give terrific performances of Debussy, Prokofiev and Stravinsky as they embark on their American tour.
With Mahler’s arrangement of Bach orchestral suites and Shostakovich’s Tenth Symphony, this concert showcased the many ways that composers have placed musical signatures on their work.
The stark aesthetic contrast between Ives’ Symphony no. 4 and Tchaikovsky’s Piano Concerto no. 1 led to an evening of music that was diverse, challenging and very entertaining.
On this Montréal concert, visiting conductor Cristian Măcelaru presented Copland’s Fanfare for the Common Man and Gorecki’s Symphony of Sorrowful Songs to mark the 70th anniversary of World War II
Nagano and the Orchestre Symphonique de Montréal imbued programmatic works with a sense of excitement, sprinkling the magic dust that brought each works’ characters to life.
With Penderecki conducting his own work, this concert demonstrated the possibilities of orchestral colour filtered through a post-Romantic lens, but was confronted with issues of balance and refinement.
The Bozzini Quartet confronted the challenges of Lucier's music with confidence and precision, their dedication evident in their effort to bring various acoustic phenomena to fruition.
The challenges presented on this program, particularly Bruckner's Seventh Symphony, allowed the TSO to impress with their technical precision, ensemble cohesiveness and stamina.
Ranging from the famous Grieg Piano Concerto to a lesser known work of Sibelius, this concert featured a vast array of orchestral colour evoking the shimmering landscapes of the North.
In front of an enthusiastic Montréal crowd, Yannick Nézet-Séguin led his orchestra through the varied atmospheres and moods of works by great English composers of the early 20th century.
Works of Chopin and Tchaikovsky on this concert displayed the two faces of Romantic music – the quiet intimacy of the individual and the expressive power of the whole.
In collaboration with the Montreal Museum of Fine Arts, musicians of the Orchestre Symphonique de Montréal presented late 19th century chamber music of Spanish and French composers.
The Orchestre symphonique de Montréal’s program was a collage-like display of the diverse music that emerged from composers in New York City from 1936 to 1956.
The Orchestre Symphonique de Montréal’s matinee concert “Amor!” was a welcome excursion, sweeping the audience off through the colourful musical tradition of warm, sunny Spain.
