LSM Newswire

Wednesday, July 29, 2015

PANAMANIA continues with the Parapan Am Games, August 7-12

Thousands Fill Nathan Phillips Square Nightly for
PANAMANIA, presented by CIBC
TO2015’s 35-Day Arts and Culture Festival
More Great Concerts to Come for the Parapan Am Games including
Jann Arden, A Tribe Called Red, Whitehorse, The Roots, Janelle Monae and Tanya Tagaq

TORONTO, July 29, 2015 – Building on the success of PANAMANIA’s first two weeks of non-stop music and entertainment, the 35-day arts and culture festival for the TORONTO 2015 Pan Am and Parapan Am Games continues with events through August 15.. More than 250,000 people experienced the fun and excitement at the three PANAMANIA free festival sites and PANAMANIA Presentations and exhibitions across the city.

PANAMANIA Live @ Nathan Phillips Square returns during the TORONTO 2015 Parapan Am Games with free music and fun from August 7 to 12. Headliners include Chromeo, The Roots, Tanya Tagaq, Whitehorse, Jann Arden, A Tribe Called Red, Brigitte Boisjoli, Janelle Monae, Explosions in the Sky and Austra. Nathan Phillips Square will also be the site for nightly Victory Celebrations, presented by CIBC, to honour medal-winning athletes, and fireworks at 10:50 p.m.

During the Pan Am Games, the numerous PANAMANIA Presentations across the city received rave reviews from both media and the public with several shows selling out. Free and ticketed presentations and exhibitions at venues throughout Toronto continue through August 15, including performances of Obeah Opera by Nicole Brooks (August 4–8), Mix by Deborah Colker (August 7–8) and PUSH! Real Athletes. Real Athletes. Real Stories. Real Theatre by Ping Chong (August 11–14). Many free exhibitions had their world premieres in July during PANAMANIA and continue to run through August 15.

Unprecedented in scale, PANAMANIA features more than 1,300 artists in 250 performances and exhibitions. The festival showcases the diverse cultures and artistic excellence of the Americas through music, theatre, dance and more, with free and ticketed events.

From August 7 to 15, Toronto will host the largest ever Parapan Am Games, where more than 1,600 athletes will compete in 15 sports. Visit to experience wheelchair basketball, wheelchair rugby, swimming, athletics and more.

PANAMANIA has been financially assisted by the Community Celebrations Fund, a program of the Government of Canada and the Ontario Cultural Attractions Fund, a program of the Government of Ontario through the Ministry of Tourism, Culture and Sport, administered by the Ontario Cultural Attractions Fund Corporation, and the City of Toronto.

For the full PANAMANIA schedule and ticket information, visit

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The Cleveland Orchestra announces details of October 2015 European tour

Annual European Tour and biennial Vienna Residency feature works by Messiaen, Strauss, Mahler and Verdi that explore themes of transcendence, faith, and humanity’s relationship to nature

First performance of The Cleveland Orchestra and Franz Welser-Möst in the Philharmonie de Paris

Vienna Residency features four concerts at the Musikverein

Tour performances take place in Belgium, Germany, Italy, and Luxembourg

Legendary pianist Radu Lupu featured as soloist

Solo artists also include Cleveland Orchestra principal keyboardist Joela Jones, soprano Genia Kühmeier, mezzo-sopranos Jennifer Johnston and Elisabeth Kulman, and the Vienna Singverein chorus and the Vienna Boys Choir

CLEVELAND – The Cleveland Orchestra and Music Director Franz Welser-Möst embark on their 15th international concert tour and 7th biennial Vienna Residency together performing 12 concerts in 10 cities October 15 to 31.

The tour will see Welser-Möst and the Orchestra in a number of Europe’s premier concert halls, including their debut performance at the new Philharmonie de Paris, in programs including works by Messiaen, Richard Strauss, Mahler, and Verdi that explore themes of faith, nature, and transcendence. Beethoven’s Piano Concerto No. 4 with Radu Lupu and Mozart’s Symphony No. 41 “Jupiter” complete the tour programs.

“Through music, a number of composers, especially in the late 19th century and into the 20th century, explored the philosophical and metaphysical questions of existence,” comments Franz Welser-Möst. “For these concerts, both to begin our season in Cleveland and in Europe in October, I have chosen three composers in particular — Messiaen, Strauss, and Mahler — who gave voice through their music to our understanding of existence and our beliefs in the power of nature and god. Mahler developed a belief in humanity’s role on earth and our connection to nature which is reflected in his Third Symphony. Strauss’s An Alpine Symphony is also about nature, but from a personal viewpoint of experiencing the majesty and mysteries of nature. His Also sprach Zarathustra is more philosophical, and from his viewpoint as an atheist he tackles the very question of God’s existence through Nietzsche’s writings. Messiaen, in his own way a devout Catholic, also voiced in music the wonder of our being. Taken together, and with the beauty of Verdi’s Four Sacred Pieces — Verdi was also an atheist — and the bittersweet melancholy of Strauss’s Four Last Songs, we are offering a set of musical statements. The metaphysical questions they ask, about why we are here and what is our purpose, are for discussion and I hope that the listener will explore these ideas after hearing these magnificent works.”

The Orchestra’s European tour begins at Brussels’s Palais des Beaux-Arts (October 15) and continues at Cologne’s Philharmonie (October 20) with performances featuring Cleveland Orchestra Principal Keyboardist Joela Jones in Messiaen’s Couleurs de la cité céleste; Messiaen’s L’Ascension: 4 méditations symphoniques and Strauss’s Also sprach Zarathustra complete the program. Welser-Möst and the Orchestra bring Messiaen’s Chronochromie and Strauss’s An Alpine Symphony to Luxembourg’s Philharmonie (October 16) and Dortmund’s Konzerthaus (October 22). As part of Expo 2015 at Milan’s Teatro alla Scala (October 18) and at the Philharmonie am Gasteig in Munich (October 25) the Orchestra’s programs features pianist Radu Lupu performing Beethoven’s Piano Concerto No. 4 alongside Messiaen’s Hymne and Strauss’s Also sprach Zarathustra. In Paris, Welser-Möst and the Orchestra will perform for the first time at the Philharmonie de Paris (October 19) with mezzo-soprano Jennifer Johnston as soloist in Mahler’s Symphony No. 3 with the Women of the Choir of the Orchestre de Paris and the Maîtrise de Paris children’s chorus. At the Audimax at the University of Regensburg (October 24), the program features Mozart’s Symphony No. 41 (“Jupiter”) alongside Strauss’s Alpine Symphony.

The Orchestra’s time in Europe concludes October 27, 28, 29 and 31 with the 7th biennial Vienna residency with a four-concert series at the Musikverein with performances of Messiaen’s L’Ascension: 4 méditations symphoniques and Chronochromie, Strauss’s Also sprach Zarathustra and An Alpine Symphony, and Mozart’s Symphony No. 41 “Jupiter”. Joela Jones will again play Messiaen’s Couleurs de la cité céleste. Mezzo-soprano Elisabeth Kulman is soloist in Mahler’s Symphony No. 3 and will be joined by the Vienna Singverein chorus and the Vienna Boys Choir. For the final performance of the tour the Orchestra is joined by soprano Genia Kühmeier for Strauss’s Four Last Songs and the Vienna Singverein chorus for Verdi’s Four Sacred Pieces.

Details of each program are listed below. Images and biographies of soloists and guest artists are available upon request.

                Franz Welser-Möst enters into his 14th year as music director of The Cleveland Orchestra with the 2015-16 season, with the future of this acclaimed partnership now extending into the next decade. The Cleveland Orchestra, which celebrates its 100th anniversary in 2018, has reached new heights under the direction of Franz Welser-Möst, has been hailed “... the best in America” (The New York Times). Under Welser-Möst’s leadership, The Cleveland Orchestra offers annual series at home in the acoustically outstanding Severance Hall and at the ensemble’s summer home at Blossom Music Center. Through a series of ongoing residencies, the Orchestra also performs regularly in Miami, Vienna, and Lucerne, in addition to annual international tours.

With a strong commitment to music education, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools at home and inaugurated partnerships with the University of Miami and Indiana University. He has championed new programs, including a series of “At Home” neighborhood residencies and concerts in Cleveland to bring the Orchestra and citizens together in new ways.

Franz Welser-Möst has led annual opera performances throughout his tenure in Cleveland, reestablishing the Orchestra as an important operatic ensemble. He brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He led an innovative made-for-Cleveland production of Janáček’s The Cunning Little Vixen at Severance Hall in 2014. He conducted performances of Richard Strauss’s Daphne in May 2015 and will present a Bartók doublebill in April 2016.

As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent engagements with the Philharmonic include a critically-acclaimed production of Strauss’s Der Rosenkavalier at the 2014 Salzburg Festival and a 2015 production of Fidelio also at Salzburg, as well as appearances at Carnegie Hall and the Lucerne Festival. He served as general music director of the Vienna State Opera from 2010 to 2014. Mr. Welser-Möst had previously directed the Zurich Opera, leading more than 40 new productions and culminating in three seasons as general music director (from 2005 to 2008).

Mr. Welser-Möst maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. He also makes his long-anticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts, and conducts the Filarmonica of La Scala Milan in a televised Christmas concert. He will conduct the Vienna Philharmonic in two weeks of subscription concerts, leads the Stockholm Philharmonic in the Nobel Prize concert in Stockholm, and conducts a new production of Strauss’s Die Liebe der Danae at the 2016 Salzburg Festival.

For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America.

Under the leadership of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought after performing ensembles in the world, setting standards of artistic excellence, creative programming, and community engagement. The strong and ongoing financial support of the ensemble’s home region is driving the Orchestra forward with renewed energy and focus, increasing the number of young people attending concerts, and bringing fresh attention to the Orchestra’s legendary sound and committed programming.

The partnership with Franz Welser-Möst, begun in 2002 and entering its 14th year with the 2015-16 season, has earned The Cleveland Orchestra unprecedented residencies in the U.S. and around the world, including one at the Musikverein in Vienna, the first of its kind by an American orchestra. The Orchestra’s annual residency in Miami, Florida, presented under the name Cleveland Orchestra Miami, is entering its tenth year in 2015-16, and involves four weeks of full programming in South Florida, including concerts, community presentations, education programs, and collaborative partnerships.

The Cleveland Orchestra has a long and distinguished recording and broadcast history. A series of DVD and CD recordings under the direction of Mr. Welser-Möst continues to add to an extensive and widely praised catalog of audio recordings made during the tenures of the ensemble’s earlier music directors. In addition, Cleveland Orchestra concerts are heard in syndication each season on radio stations throughout North America and Europe.

Seven music directors Nikolai Sokoloff, Artur Rodzinski, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst have guided and shaped the ensemble’s growth and sound since its founding in 1918. Through tours, residencies, radio broadcasts, and recordings, The Cleveland Orchestra is heard today by a broad and loyal constituency around the world. For more information, visit

The Cleveland Orchestra acknowledges the following corporations and individuals for their generous support of the 2015 European Tour: Raiffeisenlandesbank Oberösterreich AG, Tele München Group, voestapline AG, Miba AG, Dr. and Mrs. Herbert G. Kloiber, Dr. and Mrs. Wolfgang C. Berndt, Dr. and Mrs. Robert Ehrlich, and Mr. and Mrs. Alfred Umdasch.

With special thanks and recognition for international touring sponsorship by Jones Day.

The Cleveland Orchestra European Advisory board members are: Dr. Herbert G. Kloiber (chair), Dr. Wolfgang C. Berndt (vice chair), Mr. Dennis LaBarre (MAA Board President), Dr. Robert Ehrlich, Mr. Peter Mitterbauer, and Mrs. Elisabeth Umdasch.

Program Information:
2015 European Tour and Vienna Residency

October 15                               Brussels
October 16                               Luxembourg
October 18                               Milan
October 19                               Paris
October 20                               Cologne
October 22                               Dortmund
October 24                               Regensburg
October 25                               Munich
October 27, 28, 29, 31             Vienna


Thursday, October 15, 2015, at 8:00pm
Palais des Beaux-Arts
The Cleveland Orchestra
Franz Welser-Möst, conductor
Joela Jones, piano

MESSIAEN  L’Ascension: 4 méditations symphoniques
MESSIAEN  Couleurs de la cité céleste
STRAUSS  Also sprach Zarathustra

Friday, October 16, 2015, at 8:00pm
The Cleveland Orchestra
Franz Welser-Möst, conductor

MESSIAEN  Chronochromie
STRAUSS  An Alpine Symphony

Teatro alla Scala
Sunday, October 18, 2015, at 9:00pm

The Cleveland Orchestra
Franz Welser-Möst, conductor
Radu Lupu, piano

BEETHOVEN  Piano Concerto No. 4
STRAUSS  Also sprach Zarathustra

Philharmonie de Paris
Monday, October 19, 2015, at 8:30pm

The Cleveland Orchestra
Franz Welser-Möst, conductor
Jennifer Johnston, mezzo-soprano
Women of the Choir of the Orchestre de Paris
Maîtrise de Paris, children’s chorus

MAHLER  Symphony No. 3

Tuesday, October 20, 2015, at 8:00pm

The Cleveland Orchestra
Franz Welser-Möst, conductor
Joela Jones, piano

MESSIAEN  Couleurs de la cité céleste
STRAUSS  An Alpine Symphony

Thursday, October 22, 2015, at 8:00pm
Konzerthaus Dortmund
The Cleveland Orchestra
Franz Welser-Möst, conductor

MESSIAEN  Chronochromie
STRAUSS  An Alpine Symphony

Saturday, October 24, 2015, at 8:00pm
Audimax, University of Regensburg
The Cleveland Orchestra
Franz Welser-Möst, conductor

MOZART  Symphony No. 41 (“Jupiter”)
STRAUSS  An Alpine Symphony

Sunday, October 25, 2015, at 8:05pm
Philharmonie am Gasteig
The Cleveland Orchestra
Franz Welser-Möst, conductor
Radu Lupu, piano

BEETHOVEN  Piano Concerto No. 4
STRAUSS  Also sprach Zarathustra

Tuesday, October 27, 2015, at 7:30pm
The Cleveland Orchestra
Franz Welser-Möst, conductor
Joela Jones, piano

MESSIAEN  L’Ascension: 4 méditations symphoniques
MESSIAEN  Couleurs de la cité céleste
STRAUSS  Also sprach Zarathustra

Wednesday, October 28, 2015, at 7:30pm
The Cleveland Orchestra
Franz Welser-Möst, conductor

MESSIAEN  Chronochromie
STRAUSS  An Alpine Symphony

Thursday, October 29, 2015, at 7:30pm
The Cleveland Orchestra
Franz Welser-Möst, conductor
Elisabeth Kulman, mezzo-soprano
Women of the Vienna Singverein
Vienna Boys Choir

MAHLER  Symphony No. 3

Saturday, October 31, 2015, at 7:30pm
The Cleveland Orchestra
Franz Welser-Möst, conductor
Genia Kühmeier, soprano
Vienna Singverein

MOZART  Symphony No. 41 (“Jupiter”)
STRAUSS  Four Last Songs
VERDI  Four Sacred Pieces

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The Dybbuk, classique du théâtre yiddish, célèbre son 100e anniversaire sur scène au Centre Segal avec sous-titres en français !

Le Centre Segal des arts de la scène présente
Une production du Théâtre yiddish Dora Wasserman

L’œuvre essentielle du théâtre yiddish célèbre les 100 ans de sa création avec une présentation dans sa langue originale
Avec sous-titres en français et en anglais.

9 – 27 AOÛT 2015

Pour diffusion immédiate :: Montréal, le 29 juillet 2015 Le Théâtre yiddish Dora Wasserman, la plus ancienne compagnie de théâtre yiddish du Canada, revisite un classique de son répertoire en août en proposant The Dybbuk, le chef-d’œuvre gothique sur l’amour et la possession mystique de S. Ansky, dans une production multimédia visuellement étonnante mise en scène par Bryna Wasserman et Rachelle Glait, sur une musique originale de Josh Dolgin, alias Socalled. Présentée en première à guichets fermés lors du premier KulturFest de New York, cette œuvre rare et caractéristique de la scène yiddish se lance maintenant à la conquête du public montréalais en langue originale (avec surtitres français et anglais) du 9 au 27 août 2015 au Centre Segal des arts de la scène. Visionnez la bande-annonce.

Récit obsédant sur le désir, la noirceur et les âmes en errance, The Dybbuk raconte l’histoire d’un amour coincé entre deux mondes et d’une communauté déchirée entre religion, superstition et spiritisme.
Khonen, étudiant dans une yeshiva, se languit à la fois de Dieu et de sa bien-aimée Laya. Mais sans qu’ils le sachent, les deux tourtereaux ont été fiancés par leurs parents avant leur naissance. Quand le père de Laya tente de rompre cette promesse pour lui faire épouser un homme riche, Khonen se tourne vers la Cabbale, la pratique mystique juive, dans le but de stopper le mariage. Il voit alors la frontière entre naturel et surnaturel commencer à s’estomper.

Marquer le 100e anniversaire d’un classique yiddish
Cette nouvelle production du Théâtre yiddish Dora Wasserman marque le 100e anniversaire d’une des pièces les plus réputées de la littérature yiddish. Écrite entre 1913 et 1916, The Dybbuk est l’œuvre la plus connue de l’écrivain russo-juif S.Ansky (né Shloyme-Zanvl Rappoport) et l’une des plus largement produites dans l’histoire du théâtre juif. Elle a été jouée pour la première fois en 1920 et a été montée en Europe, en Amérique du Nord et en Israël.

Un retour aux souches
Pour sa production annuelle sur la scène principale du Centre Segal, la compagnie TYDW effectue un retour aux souches avec cette œuvre dramatique puissante et remplie de suspense qui traduit une profonde incursion dans la culture et le mysticisme hassidique, la langue yiddish, et l’imaginaire historique juif à l’aube de la Première Guerre mondiale.

La première rencontre entre la pièce et le TYDW remonte à 1997, année où la Compagnie a reçu les éloges de la critique pour l’avoir présentée dans une mise en scène de Bryna Wasserman, la directrice artistique du TYDW et actuelle directrice exécutive du National Yiddish Theatre – Folksbiene de New York.

Des amoureux maudits par le sort
« Poétique et néanmoins provocant, The Dybbuk est né de la noirceur et de la beauté des ghettos de l’Europe de l’Est à une époque où Ansky scrutait son propre héritage religieux et culturel à travers le prisme du folklore juif traditionnel. La pièce trouve sa trame dans les légendes mystiques de jeunes amoureux coincés entre deux mondes et qui souffrent parce qu’un vœu solennel a été rompu. Il en résulte une histoire d’amour universelle et transcendante : Khonen possède Laya et elle garde une emprise sur lui. Ils seront unis, et si ce n’est pas dans cette vie, ce sera dans la prochaine », explique Wasserman.

Wasserman revient au Centre Segal pour assurer avec Rachelle Glait la mise en scène de la production annuelle du TYDW sur la scène principale. Les deux femmes ont récemment collaboré lors de la première musicale en yiddish de Soul Doctor: Journey of a Rock Star Rabbi, un succès présenté l’été dernier au Centre Segal.

Une distribution dynamique composée de 18 comédiens chevronnés ou de nouveaux talents du TYDW est là pour conduire cette production réinventée qui présente une musique originale de Josh Dolgin, alias Socalled, l’artiste montréalais de pop-Klezmer de renommée mondiale, dont on a pu entendre la musique pour la dernière fois sur la scène du Segal dans Tales from Odessa (2013). La mise en scène associe des projections évocatrices conçues par George Allister et Patrick Andrew Boivin à une chorégraphie de Jim White. Les décors sont signés John C. Dinning, les éclairages Renaud Pettigrew, les costumes Louise Bourret et le son Jesse Ash.

> Un « Dybbuk » (de l’hébreu signifiant « coller ») fait référence à un esprit errant et malin qui entre dans le corps d’un être vivant. Pour les Juifs hassidiques de l’Europe de l’Est, un Dybbuk ne constituait pas une légende ou un mythe mais une vraie menace. La pratique mystique de la Cabbale était répandue à l’époque et personne ne doutait qu’une âme mécontente puisse traverser la frontière entre le monde « réel » et « l’autre » monde pour posséder un être vivant.

> S. Ansky a écrit la pièce après une expédition ethnographique de plusieurs années au cœur des régions yiddish de l’Europe de l’Est.

> Le célèbre Théâtre d’art de Moscou devait présenter la pièce en première en 1917 dans une traduction russe mise en scène par Konstantin Stanislavski; mais la révolution russe est survenue et Ansky a été forcé de fuir en Pologne. La pièce a été montée pour la première fois par la Troupe Vilna de Varsovie après la mort d’Ansky en 1920.

> Ansky avait mêlé plusieurs mélodies traditionnelles en hébreu à l’histoire. Josh Dolgin (Socalled), le compositeur de The Dybbuk, dont la propre musique jette des passerelles entre la musique pop contemporaine, le hip-hop et la musique juive traditionnelle, les a incluses dans la trame sonore originale de la pièce.

> La pièce a inspiré plusieurs adaptations notables, qu’il s’agisse d’un ballet de Leonard Bernstein et Jerome Robbins, d’une nouvelle adaptation anglaise par Tony Kushner ou d’un opéra original en yiddish signé Solomon Epstein. Les frères Coen ont présenté un extrait de la pièce dans leur film « Un homme sérieux  » (A Serious Man), en 2009.

À propos du Théâtre yiddish Dora Wasserman
Le Théâtre yiddish Dora Wasserman (TYDW) est la compagnie de théâtre en résidence au Centre Segal. Depuis 1958, le TYDW met en scène l’expérience juive et entretient l’héritage de théâtre yiddish tant à Montréal qu’à l’étranger.  Le Théâtre Yiddish Dora Wasserman a connu le succès critique et populaire avec au-delà de 90 productions allant des classiques et d’œuvres originales à des drames et des comédies musicales.  Bryna Wasserman, fille de Dora Wasserman, O.C., O.Q., fondatrice de la compagnie, a guidé le TYDW vers de nouveaux sommets.  Sous la direction artistique de Bryna Wasserman, le TYDW continue de célébrer et de préserver le théâtre, la langue et la culture yiddish par le biais de productions théâtrales et d’une série de conférences publiques, de films et de concerts tout au long de l’année.

À propos du Centre Segal
Le Centre Segal des arts de la scène est un organisme à but non lucratif voué au soutien, à la production et à la présentation d’un théâtre anglophone mettant en scène les meilleurs artistes professionnels d’ici et d’ailleurs. Depuis sa fondation en 1967, le Centre Segal s’est développé en un lieu culturel reconnu partout au pays ayant pour valeurs fondamentales la création, l’innovation, la diversité et les collaborations interculturelles. La programmation artistique du Centre Segal met l’accent sur des relectures de pièces connues du grand public, des nouvelles comédies musicales canadiennes et des œuvres aux thèmes universels. Le Centre Segal croit fermement que l’art a le pouvoir de renforcer et de lier les communautés les unes aux autres et s’emploie à offrir une programmation pertinente, engageante et accessible.     

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Recommandations en vue du budget fédéral 2016 : faire preuve de prudence et soutenir la croissance

Montréal, le 29 juillet 2015 – Dans le cadre des consultations prébudgétaires du Comité permanent des finances de la Chambre des communes du Canada, la Chambre de commerce du Montréal métropolitain demande au gouvernement de faire preuve de prudence dans sa planification budgétaire et de créer un environnement propice pour que les entreprises canadiennes soient prêtes à saisir les occasions qui découleront de la reprise de l’économie mondiale.

Une approche prudente est de mise, surtout dans le contexte économique actuel

La conjoncture mondiale, la baisse des prix du pétrole et des investissements révèlent la nécessité d’adopter une approche prudente.

« Le gouvernement doit se doter d’une marge de manœuvre budgétaire de l’ordre de trois milliards de dollars et non d’un milliard de dollars par an jusqu’en 2017-2018 comme annoncé dans le dernier budget pour parer aux imprévus. Si cette réserve est non utilisée dans l’exercice budgétaire en cours, elle devrait servir à réduire notre endettement », a déclaré Michel Leblanc, président et chef de la direction de la Chambre de commerce du Montréal métropolitain.

Une fiscalité plus compétitive pour stimuler l’investissement privé et soutenir les PME

La croissance économique du Canada et de la région métropolitaine de Montréal passe nécessairement par l’augmentation de l’investissement privé et un soutien efficace à nos PME.
« Il est essentiel d’abaisser le fardeau fiscal des entreprises et des contribuables une fois l’équilibre budgétaire atteint. Le gouvernement doit envisager une réduction généralisée de l’impôt sur le revenu des particuliers pour encourager le travail et un abaissement supplémentaire du taux d’imposition des revenus des sociétés pour stimuler l’investissement et la productivité », a affirmé Michel Leblanc.
« Nous réitérons notre demande de réinstaurer le crédit d’impôt fédéral pour les fonds de travailleurs. Ce crédit d’impôt est crucial pour le développement économique de la métropole. Il favorise la création et l’essor d’entreprises innovantes et soutient des dizaines de milliers d’emplois de qualité chaque année au sein de la métropole », a poursuivi Michel Leblanc.

Accélérer la mise en œuvre des investissements stratégiques en infrastructures

Les investissements dans les infrastructures publiques ont deux effets de levier sur l’économie. Ils stimulent l’économie à court terme et favorisent une croissance de la productivité à plus long terme.
« Le gouvernement doit devancer à 2016-2017 les investissements pour la stratégie nationale de transport en commun afin que cette dernière agisse comme une mesure de stimulation de l’économie en période de fragilité. Il doit également poursuivre la stratégie d’investissements dans les infrastructures économiques stratégiques, notamment pour le développement portuaire, maritime et aéroportuaire de la métropole », a jouté Michel Leblanc.

L’engagement pour le 375e anniversaire de Montréal se fait toujours attendre

La première métropole de l’histoire du Canada devrait bénéficier de legs fédéraux significatifs pour souligner le 150e anniversaire du pays.

« L’absence de l’engagement financier du gouvernement fédéral pour le 375e anniversaire de Montréal demeure inexplicable alors qu’il reste à peine deux ans pour concrétiser ce jalon important de l’histoire du Canada. Le gouvernement fédéral doit confirmer dans les meilleurs délais, et ce, bien avant le dépôt du prochain budget, sa participation financière aux célébrations du 375e anniversaire de Montréal pour s’assurer que les fêtes soient un succès », a conclu Michel Leblanc.

En résumé, les recommandations prébudgétaires se déclinent comme suit :
  1. Doter le gouvernement du Canada d’une marge de manœuvre suffisante pour parer aux imprévus, tout en utilisant cette marge pour réduire l’endettement du pays si les conditions économiques devaient s’avérer favorables;
  2. Améliorer la compétitivité du régime fiscal, c’est-à-dire poursuivre la stratégie de réduction du fardeau fiscal des particuliers et des entreprises;
  3. Accélérer la mise en œuvre d’investissements importants dans les infrastructures économiques stratégiques.
Les recommandations prébudgétaires de la Chambre peuvent être consultées en cliquant ici.

À propos de la Chambre de commerce du Montréal métropolitain
La Chambre de commerce du Montréal métropolitain compte plus de 7 000 membres. Elle a pour mission d’être la voix du milieu des affaires montréalais et d’agir pour la prospérité de la métropole. Elle s’engage dans des secteurs clés du développement économique en prônant une philosophie d’action axée sur l’engagement, la crédibilité, la proactivité, la collaboration et l’avant-gardisme. La Chambre offre également une gamme de services spécialisés aux particuliers et aux entreprises de toutes tailles afin de les appuyer dans leur croissance ici et à l’international.

Recommendations for the 2016 federal budget:
show restraint and support growth

Montréal, July 29, 2015 – As part of pre-budget consultations by the House of Commons Standing Committee on Finance, the Board of Trade of Metropolitan Montreal asks the government to show restraint in its budget planning and create an environment that enables Canadian businesses to be poised to seize the opportunities resulting from the global economic recovery.

Prudence is required, particularly given the current economic situation

The global economic situation and the drop in the price of oil and in investment are a call for prudence.

“To be able to face the unexpected, the government needs to give itself annual budgetary leeway in the order of $3 billion until 2017-2018 and not $1 billion as announced in the last budget,” said Michel Leblanc, President and CEO of the Board of Trade of Metropolitan Montreal. “If this reserve is untouched during the current budget exercise, it should be used to pay down the debt.”

More competitive taxation to stimulate private investment and support SMEs

The economic growth of Canada and Greater Montréal depends on an increase in private investment and effective support to SMEs.

“We need to reduce the corporate and personal tax burden once the budget is balanced,” Michel Leblanc said. “The government needs to plan for a generalized reduction in personal income tax to encourage work and an additional reduction in corporate tax rates to stimulate investment and productivity.”

“The Board of Trade reiterates its call to reinstate the federal tax credit for labour-sponsored funds,” Mr. Leblanc said. “This tax credit is crucial for the city’s economic development. It promotes the creation and growth of innovative companies and supports tens of thousands of skilled jobs every year within the city.”

Speed up the implementation of strategic investments in infrastructure

Investing in public infrastructure is leverage for the economy in two ways. It stimulates the economy in the short term, and it fosters an increase in productivity in the longer term.
“The government needs to back up its investments for the national transit strategy to as early as 2016-2017 so that the strategy can stimulate the economy when it is flagging,” Michel Leblanc added. “It also needs to pursue investments in strategic economic infrastructures, particularly for developing the city’s port and airport and for maritime development.”

Still awaiting a commitment on Montréal’s 375th anniversary 

The oldest city in Canada should receive a significant federal legacy to mark the country’s 150th anniversary.

“The lack of financial commitment from the federal government for the 375th anniversary of Montréal is perplexing given that this major milestone in the history of Canada is only two years away,” Michel Leblanc said. “The federal government needs to confirm its financial contribution to Montréal’s 375th anniversary celebrations as soon as possible — before the next budget is tabled — to ensure the festivities are a success.”

Briefly, the pre-budget recommendations are as follows:
  1. Create the financial leeway for the Government of Canada to deal with the unexpected, using that reserve to pay down the country’s debt if economic conditions turn out to be favourable.
  2. Increase the competitiveness of the tax regime, by pursuing the strategy to reduce the tax burden for individuals and companies.
  3. Accelerate major investments in economic and strategic infrastructures.
Consult the Board of Trade’s pre-budget recommendations here.

About the Board of Trade of Metropolitan Montreal
The Board of Trade of Metropolitan Montreal has over 7,000 members. Its mission is to be the voice of Montréal’s business community and to promote the city’s prosperity. It is involved in key areas of economic development, advocating a philosophy of action based on engagement, credibility, proactivity, collaboration and innovation. The Board of Trade also offers a range of specialized services to individuals and to business of all sizes to support them in their growth at home and abroad.

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Recording News from Divine Art: 200 Years of Early French keyboard music

Terence Charlston explores sixteenth- and seventeenth-century French keyboard music through the touch and sound of the clavichord in his new recording for Divine Art Records (dda 25134). Despite modern players and makers attaching little importance to the role of the clavichord in the development of French keyboard music, the instrument was highly valued within late-renaissance culture and continued to be used by musicians into the seventeenth century and later. The album contains one piece (the well known Toccata in C by Sweelinck) which was not written in France but was popular there.  

Charlston recorded this historic program of keyboard works on a reconstruction of the clavichord described in Marin Mersenne’s Harmonie Universelle. Peter Bavington built the clavichord, using Mersenne’s text and accompanying engraving as a guide. Bavington studied early keyboard instrument making and restoration at the London College of Furniture (now London Metropolitan University) and later earned his Higher National Diploma in Musical Instrument Technology. His customers have included the Royal Academy of Music, the Guildhall School of Music and Drama and the Hochschule der Künste Berlin.

Born in Blackpool, Lancashire, Terence Charlston enjoys a varied career as a soloist, chamber musician, director, teacher and academic researcher. He can be heard on nearly 100 commercial CDs playing all manner of historical keyboards including virginal, clavichord and fortepiano. He was a member of London Baroque from 1995 until 2007 and is a core member of the ensemble Florilegium. He has recently recorded with the Magdalena Consort and is a member of The Society of Strange and Ancient Instruments. He was a Patron and Guest Director of the Lancashire Sinfonietta from 2009 until 2015.

An authority on English and continental Baroque keyboard music, he has been responsible for many pioneering concerts, recordings and editions. As a respected advocate of early keyboard instruments within the educational sphere, he has taught harpsichord and basso continuo at the Royal Academy of Music in London since 1989 and founded its Department of Historical Performance in 1995. He joined the staff of the Royal College of Music, London as professor of harpsichord in 2007, and in 2009 he was appointed Visiting Fellow in Harpsichord at the Royal Northern College of Music in Manchester, where he is now International Visiting Tutor in Harpsichord.

The recording will be released this November.

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Montrealers will be offered a new experience during a series of 3 brief urban events

VHS // van horne station - Vol. 1

Montreal, July 28, 2015 - Montrealers will be offered a new experience during a series of 3 brief urban events, the first of which will take place Saturday, August 8 under the Van-Horne viaduct. VHS // Van Horne station is a brand new event bringing together music, urban art, and street food. The producers of Piknic Électronik, Mural, and First Fridays combine forces to present the best of Montreal's creativity in a new open-air venue created in collaboration with the arrondissement Rosemont La Petite-Patrie. The initiative aims to promote a greater use of the parks bordering brownfield lands by encouraging their re-appropriation.

Poirier headlines the music programming, which includes performances by MOONSHINE's Pierre Kwenders, J.u.D., and Yung Bambii. Participants will also have an opportunity to attend urban art creations by 2013 and 2014 MURAL festival artists: Hoarkor, Omen, Kevin Ledo, and Zoltan. And of course, a selection of Montreal's best food trucks will seal the deal. With these three elements certain to gather a large crowd, VHS is a true celebration of Montreal's creativity that stimulates and satisfies all the senses.

What: VHS // van horne station
When: August 8, 2015
Time: 4 p.m. to 11 p.m.
Place: Under the Van-Horne viaduct, at the park near 5795 de Gaspé. Site entrance: corner of rue Marmier and avenue Henri-Julien.
Cost: $10
Facebook page:
Facebook event:


PIKNIC ÉLECTRONIK - Bringing electronic music to Montreal since 2003, Piknic Électronik's mission is to make the scene more accessible by propelling it into the light of day and into an urban park. Now a must-do summer event in Montreal, it hosts an average of 5,000 people each Sunday of all ages, backgrounds, and creeds, both regulars and newcomers, who all come together at its emblematic parc Jean-Drapeau site to experience a lively musical adventure.

FIRST FRIDAYS - Les productions Premiers Vendredis was created in May of 2015 by the directors of the Association des restaurateurs de rue du Québec. Its mission: to create public gastronomic events and promote street food by organizing events like First Fridays, the largest monthly gathering of food trucks in Canada.

MURAL - Created in 2013 by the artistic marketing agency LNDMRK, MURAL is an international public art festival whose mission is to celebrate creativity through the promotion of public art. The only event of its kind in the northeast, it won a Prix Ulysse given by the Grands Prix du tourisme québécois for the best festival or touristic event in the Montreal area and helps the city strengthen its position as a major North American arts hub.

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Blue Soap Records: New Music from Silverbird, High Tiny Hairs, The Jackals and Damien J Brennan

18 September 2015

Lead Track - Lyfe

Pureland is Silverbird's debut album and is released on September 18th 2015.

Songwriter Tim Barr founded Silverbird after spending several years on New York's vibrant music scene playing gigs as part of Lana Del Rey’s band, opening for The Blow, and studying and playing with Dizzy Gillespie’s pianist protegee Mike Longo.

Barr and English producer Kristopher Harris recorded Silverbird’s debut EP 'Surface Life', released in May 2014 to critical acclaim. Joined by Corey Davis on bass, Dan Whaley on lead guitar and Jacob Schuab on drums, Silverbird were soon selling out venues across NYC. With influences as diverse as Wilco, Heartless Bastards, and Sparklehorse, their music strides fearlessly through an ever changing emotional landscape. Infectious melodies and swirling, intricate rhythms combine to provide an absolutely enchanting soundscape.

2015 has already been incredibly busy for the band. The year started with two packed shows at the Brooklyn Night Bazaar and Black Bear, with many more shows and a tour to come. The track 'With the Spirits' from Surface Life was selected for the All Saints spring playlist and the song will be played in their 110 worldwide stores for three months. Tim is also featured on the packaging for Cakewalk’s Sonar Artist production software.

High Tiny Hairs
High Tiny Hairs EP
Sir Gregory Records
24 August 2015

Lead Tracks: Ghost Shadow, First World Problems, Chaos Ensues

Swirling, dreamy pop hooks accentuated with the haunting sounds of a Farfisa organ cloak the sombre and sardonic musings of former Fuck Knights guitarist and Nightinghales front man Ben Bachman in his new project, High Tiny Hairs.

This EP lays bare and showcases Bachman’s stylistic influences, the likes of Alex Chilton, Brian Eno and Syd Barrett, with a short set of self-produced releases.

The songs, bouncing between sixties Baroque pop and the new psychedelic movement of the early eighties, are mesmerisingly elegant and poetically dark, yet quirky, and romantic. The Minneapolis based singer/songwriter evokes a hazy, late night tête-à-tête with his ghosts.

"Ben Bachman is High Tiny Hairs, and I’m kind of taken with this song, off the recent self-titled EP. It’s short, it’s simple, and it has one of those meat and potatoes, could have happened any time in the past 40 years guitar riffs, that just sounds really good when you turn it up, so, let’s do that..."
Don't Need No Melody

Released on limited edition cassette and digital download.
Sir Gregory Records SGR1967-D

Damien J Brennan
Shine EP
14 September 2015

Lead Track: Shine

Damien J Brennan was born and raised in County Down, Northern Ireland. He learned to play the guitar and began busking whilst backpacking through Italy and Australia. Shortly after his return home he began songwriting and on a limited budget recorded some garage demos. These initial recordings received positive feedback and a glowing review from critically acclaimed mastering engineer Pete Maher (U2, Snow Patrol, Katy Perry, Hudson Taylor).

Damien recorded his first professional tracks in Zero Hour Studios and these songs led to gigs locally and in London. They were also picked up for radio play on Tom Robinson's BBC Radio 6 show and Baylen Leonard and Aaron Philips on Amazing Radio, together with a number of regional UK stations. Tony Moore of Soho Radio invited Damien to sing live on his show and to appear live at London's Bedford this August.

The future is looking very promising for this up and coming Irish talent.

"Damien is a gifted and super talented singer/songwriter with the potential for great success! Up there with the best!"
Pete Maher, Mastering Engineer for U2, The Killers, Liam Gallagher, The Rolling Stones, Jack White, Scissor Sisters, Depeche Mode and Katy Perry

"Spinetingingly good, astonishing, absolutely astonishing... That sounds like a major hit to me, the  UK needs to hear this, the world needs to hear this... your live voice has a unique quality..." –
Tony Moore, Soho Radio show

Rigsy, BBC Introducing, Radio Ulster

Social Links:
12th August - The Bedford, 77 Bedford Hill, London, SW12 9HD

The Jackals
14 September 2015

Lead Tracks: Raspberry MoonGhost Soul TrafficTwo HeadsWaiting On the Man With the Sun
Vinyl Release - Sep 14thDigital Release - Available now
The Jackals hail from Scotland's capital city Edinburgh. A tight knit musical unit who are known for their blistering live performances, the band's sound combines cryptic lyrics with expansive guitars, underpinned with the solid grooves of the bass and drums.Describing themselves as making cosmic rock and roll, The Jackals worked with legendary producer Owen Morris (Oasis, The Verve) on their double A side single 'Holding All The Roses/L.E.A.R.N' with Morris saying of the experience ”I've had a very good time mixing tracks for The Jackals, a great band with soulful, massive tunes".The Band:Scott Watson - vocals, guitarsPaddy McMaster - drums, vocalsDavid Panton - bass, vocalsGary Quilietti - guitars
Social Links:

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Art Assistant / Assistant artistique - Les Arts Florissants, Paris, France

Les Arts Florissants, Paris, France

Ensemble musical à géométrie variable, installé à la Philharmonie de Paris, ayant pour vocation la diffusion de la musique des XVIIème et XVIIIème siècles : tournées de concerts en France et l'étranger, productions lyriques, festival d'été en Vendée, académie du Jardin des Voix, pédagogie, enregistrements, éditions...

Directeur musical fondateur : William Christie, Directeur musical adjoint : Paul Agnew.

recherchent leurs

Assistant artistique (H/F)

Il ou elle sera chargé(e) d’assister la directrice de la programmation artistique et le directeur musical dans le cadre de l’organisation la programmation artistique des Arts Florissants (productions lyriques, concerts…) : recrutements des artistes, découpages, auditions, voyages du directeur musical…


  • bilingue anglais indispensable
  • excellentes connaissances musicales
  • expérience de 2 ans  min. dans un secteur équivalent en France et/ou à l’étranger
  • sens du travail en équipe, bon relationnel
  • grande rigueur et sens de l’organisation
  • bonne maîtrise de l’informatique
  • grande disponibilité et mobilité
  • permis B indispensable

Contrat à durée déterminé de 6 mois. Possibilité de passage en CDI selon évolution.

Rémunération selon convention collective et expérience.

Poste à pourvoir immédiatement.

Merci d’adresser CV et lettre de motivation avant le 10 août 2015 par courriel à :

* * *

Les Arts Florissants, Paris, France
Founding Music Director: William Christie – Assistant Music Director: Paul Agnew

Are on the lookout for their

Art Assistant (M/F)

He or she will assist the Director of Artistic Programming and the Music Director in organizing the artistic programming of Les Arts Florissants (operas, concerts, etc.): recruitment of performers, scripts, auditions, trips by the Music Director, etc.


  • English-speaking bilingual required
  • Thorough knowledge of music
  • 2 years’ minimum experience in a similar activity in France and/or abroad
  • Sense of teamwork and good communication skills
  • Rigour and organizational skills
  • Good IT skills
  • Availability and mobility
  • Driving licence ‘B’ required

6-month fixed-term contract upgradeable to a permanent contract depending on career development.

Salary based on the collective agreement and experience.

Immediate vacancy

Please e-mail your CV and covering letter to before August 10, 2015.