PREPARING FOR THE CONCERT

PREPARING FOR THE CONCERT

I. Read below the summary of the different scenes of our concert.

GRANDMA’S GRAND BOOK

What could be more comforting than a good story lovingly related by a specialist in adventure and memory? Add to that a symphony orchestra, and it all becomes simply magical! But we still have to make a choice, Grandma – there are hundreds of tales!

LITTLE RED RIDING HOOD: NOT JUST A PRETTY FACE…

Mummy isn’t asking a whole lot: A short visit to Grandma’s, and steer clear of the woods! But our young lass doesn’t listen, or can’t resist the urge: A shortcut, teeming with lovely things and little animals, is much sweeter, my sweet young miss!

IS THE WOLF REALLY NICE?

The wolf seems nice enough, and to get to Grandma’s before the sun sets. Little Red Riding Hood will happily accept his “help”! But all forests have their dark side… And that’s how Riding Hood falls into the trap.

THE WOLF’S TRICKERY

Grandma let her guard down too, despite her great age. The red bonnet, a little voice, pull on the lever, and bingo! The wolf succeeds in fooling our poor ailing grandmother. And we know what comes next…

WHAT BIG EYES YOU HAVE, GRANDMA…

Aided by the animals in the forest, Riding Hood finally arrives at Grandma’s. Only, she doesn’t recognize her – those eyes, that smell, those big hairy arms… Good lord: under that bonnet, it’s the big bad wolf! Fortunately for her, a hunter was passing by! Thanks to the courage and alertness of Little Red Riding Hood, the hunter kills the wolf and frees the two captives.

IT’S A DEAL, GRANDMA!

Little Red Riding Hood admits her shortcomings, she’s had the fright of her life and put her grandmother in grave danger. Still, Grandma has no trouble forgiving her for everything – but on one condition!

II. Small listening guide to explore a few excerpts that you will hear during the concert.

Ravel, Le tombeau de Couperin: I. Prélude

Do you think that the oboe and the clarinet calmly discuss while they wait for the strings to joint hem? During the concert, watch the musicians and try to locate our two instruments from the beginning. A hint: they can be found in the woodwind family…

Prokofiev, Symphony no. 1 in D major, op. 25, “Classical”: III. Gavotte
At this moment, Little Red Riding Hood discovers the forest and its surprising creatures. Do you think it is possible to walk on the rhythm marked by the strings followed by the brass and woodwinds?

Tchaikovsky, Symphony no. 4 in F minor, op. 36: I. Andante sostenuto – Moderato con anima

This melody seems to announce something or someone that is important… And what if it was the wolf? Have fun counting the number of times you hear the musical theme played by the French horns!

Rimski-Korsakov, Tale of the Tsar Saltan, op. 57:

Notice how the instruments play very fast in this piece? Almost like a chase! It is up to you to imagine how Little Red Riding Hood tries to escape the wolf.

III. VIDEOS

OSM Youth Concerts’ Ambassador and the Bal des enfants spokesman Patrice Bélanger presents with Adam Johnson, assistant conductor of the OSM, the invisible aspects of music that are really interesting to hear when you attend a symphonic concert.

OSM Youth Concerts’ Ambassador and the Bal des enfants spokesman Patrice Bélanger presents with Adam Johnson, assistant conductor of the OSM, the invisible aspects of music that are really interesting to hear when you attend a symphonic concert.

OSM Youth Concerts’ Ambassador and the Bal des enfants spokesman Patrice Bélanger presents with Adam Johnson, assistant conductor of the OSM, the invisible aspects of music that are really interesting to hear when you attend a symphonic concert.

IV. Discover the artists in the concert Little Red Riding Hood

Alexandra Sicard

LITTLE RED RIDING HOOD – ALEXANDRA SICARD, actress

Alexandra Sicard appeared in a number of advertisements starting at the age of four, and her natural talent was quick to attract attention. She went on to charm audiences with her lovely voice in over a hundred performances of the musical comedy La Mélodie du bonheur (The Sound of Music).

In the movies we’ve had the opportunity to see her in Robert Ménard’s Reste avec moi).

On French-language television she’s appeared in Les Argonautes (where she performed the role of Mia for five years), L’Auberge du chien noir, S.O.S., Légendes urbaines, Trauma, 30 vies and L’Imposteur, and in English, the series Helix.

On stage she’s played the role of Jane in the musical Mary Poppins.

We should also note that her voice can be recognized in about 20 series dubbed in Québec – all in all, an impressive track record for a young lady of fourteen!

Dominique Côté

THE WOLF – DOMINIQUE CÔTÉ, baritone

Baritone Dominique Côté, a native of Notre-Dame-du-Rosaire, Québec, has been hailed by audiences and critics alike for the warmth of his voice and for his moving performances. First prize at the Concours international de chant lyrique de Canari (jury chaired by Gabriel Bacquier) and audience award–winner at the Concours international de chant de Marmande, Dominique relishes exploring every musical domain his voice allows him to tackle.

The New York Times recently summed up his appearances in Chabrier’s Une éducation Manquée and Gavaux’s Léonore with Opera Lafayette in New York and Washington as a “fine vocal performance.” Last summer he enjoyed great success as Reverend Moore in the American musical Footloose at Théâtre St-Denis in Montreal. Opera News underscored his “excellent” interpretation of the Comte de Comminge in Hérold’s Le Pré aux Clercs at Wexford Festival Opera last year. The recent recording of Beydts and Guitry’s La Société Anonyme des Messieurs Prudents with the Orchestre Régional Avignon-Provence under the direction of Samuel Jean, in which he performs the role of the Grand Industriel, has met with public enthusiasm and critical acclaim internationally. And reviews mentioned his “virtuoso” performance of the Comtesse in the March and Bouchard opera Les Feluettes at Edmonton Opera this past October.

Turcot_Louise-couleur-credit Maxime Côté.jpeg

THE GRAND-MOTHER – LOUISE TURCOT, actress

Louise Turcot has made a remarkable impression on television over the years, having appeared in over thirty series and dramas, notably Feux, Mémoires vives, Les Parent, 19-2 (Gémeaux Award for Best Supporting Actress in a Dramatic Role), La Promesse, C.A., Grande Ourse and Les machos. She was also part of the cast for Sam Chicotte, a program that earned her another Gémeaux. On the big screen she’s been seen in Anne Émond’s Les êtres chers, the Podz film Miraculum, Manon Briand’s Liverpool, Rodrigue Jean’s Lost Song, Yves Desgagnés’s Idole instantanée, Johanne Prégent’s La peau et les os and Claude Fournier’s Les chats bottés and Deux femmes en or.

In the theatre she’s performed in Ne m’oublie pas (Forget Me Not) and Ils étaient tous mes fils (All My Sons; Compagnie Jean Duceppe), La mort d’un commis voyageur (Death of a Salesman) and Les bonnes (The Maids; Théâtre du Rideau Vert), Le mariage de Figaro and La petite pièce en haut de l’escalier (TNM), W;T (Théâtre de Quat’Sous) – a play for which she earned a Masque award for Best Actress – La petite scrap (Espace GO), Molière’s Les femmes savantes (Théâtre Denise Pelletier), Les manuscrits du déluge (TNM), La nostalgie du paradis (TDA), Rêves (Théâtre de Quat’ Sous), Gozzi’s L’oiseau vert (The Green Bird; TNM), La maison Amérique (La Licorne) et Un tramway nommé désir (A Streetcar Named Desire; TPQ). A woman of many talents, Louise Turcot is also the author of four novels for young people: Un grand fleuve tranquille, Nous n’irons plus jouer dans l’Ile, Le retour à l’Ile aux cerises and Adieu mon beau chalet (published by Boréal). She’s also produced two novels for adults – Mademoiselle J.J. (Stanké) and Le chemin de la Première concession (Groupe Librex), apart from writing dialogue for the TV series La Promesse.

Martine Francke_crédit Simon Normand

THE MOTHER AND THE OWL – MARTINE FRANCKE, actress

A graduate of the National Theatre School, Martine Francke has carved out an enviable place for herself in the cinema as much as on television and in the theatre.

On the big screen she has appeared in a number of films, including Jimmy Larouche’s Antoine et Marie and La cicatrice, Léa Pool’s La dernière fugue, Yves Desgagnés’s Roméo et Juliette and Idole instantanée and Claude Meunier’s Le grand départ.

Some twenty roles on TV have seen her in the casts of series like Le berceau des anges, Mémoires vives, 30 vies, Toute la vérité, Providence, Trauma, Cher Olivier, Histoires de filles, Virginie and Détect inc. She has taken part in young-audience shows, playing Ouala in Cornemuse and Yvette in Pendant ce temps devant la télé. And she has collaborated on the programs Taxi 0-22, …Ce soir on joue and Improvissimo. We can also find her in season two of Ruptures, in the new series Fatale-Station and in season three of Marche à l’ombre.

The stage occupies an important place in Martine Francke’s career. Latterly she has performed at La Licorne in the play Terminus, in the solo work Aller-retour and in Boeing Boeing.

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