And to Conclude: The OSM
Sunday September 27 | 8 pm
Cathédrale de Joliette
Although the year slowly draws to an end, it is not too late to mark Beethoven’s 250th birthday! The composer of the “Great Fugue” was a visionary whose modernity defied time, as if showing the way to his successors: Brahms, Mahler, and Schoenberg. Both the Rückert-Lieder and Transfigured Night relate to a deeply mutating world where creative effervescence and hope are forever present.
Ludwig van Beethoven
Great Fugue in B-flat major (Groβe Fuge), op. 133
Songs of a Wayfarer (Lieder eines fahrenden Gesellen)
Transfigured Night (Verklärte Nacht), op. 4
A recent graduate of the Metropolitan Opera Lindemann Young Artist Development Program, Tunisian-born mezzo-soprano Rihab Chaieb gives her first performances as Carmen this season at Oper Koln, and enjoys a string of debuts on both sides of the Atlantic: at the Dutch National Opera as Lola in Robert Carsen’s new production of Cavalleria rusticana conducted by Lorenzo Viotti, at the Grand Theatre de Geneve in the world premiere of Christian Jost’s Voyage vers l’espoir conducted by Gabriel Feltz and directed by Kornel Mundruczo, and at the Los Angeles Opera as Cherubino (Le nozze di Figaro).
On the concert stage, she sings her first Mahler Das Lied von der Erde at the Toronto Summer Music Festival, Falla’s Three-Cornered Hat with the Vancouver Symphony Orchestra under Music Director Otto Tausk and Beethoven’s Mass in C with the Orchestre symphonique de Quebec under Bernard Labadie. She also gives recitals in London, New York and Montreal.
Raised and trained in Canada, Rihab Chaieb is a former member of the Canadian Opera Company’s Ensemble Studio and a participant in the San Francisco Opera’s Merola Program, where she made important role debuts as Sesto (La clemenza di Tito) and Cherubino. A Glyndebourne Festival debut as Mercedes in David McVicar’s production of Carmen under Jakub Hrůša was followed by an acclaimed Metropolitan Opera debut as Zulma in Rossini’s L’Italiana in Algeri.
Last season, Rihab made her first guest appearance at The Met as Zerlina (Don Giovanni), alongside debuts at Opera Orchestre National de Montpellier in the title role of Offenbach’s Fantasio, the Opera Vlaanderen as Kasturbai in Philip Glass’ Satyagraha, the Cincinnati Opera as Cherubino, the Teatro municipal de Santiago de Chile as Dorabella (Così fan tutte) and at the Houston Grand Opera in the world premiere of Tarik O’Regan’s The Phoenix. Rihab Chaieb won Third Prize at the 2018 edition of Placido Domingo’s Operalia Competition.
Andrew Wan was named Concertmaster of the Orchestre symphonique de Montréal (OSM) in 2008. As a soloist, he has performed throughout the world under the direction of such conductors as Vengerov, Petrenko, Labadie, Rizzi, Oundjian, Stern, and DePreist, among others, and has given chamber music concerts with many artists, including the Juilliard String Quartet, Repin, Hamelin, Trifonov, Pressler, Widmann, Ax, Ehnes, and Shaham. He has served as guest concertmaster of the Pittsburgh, Houston, Toronto, National Arts Centre and Indianapolis Symphonies.
His recordings with Kent Nagano and the OSM, Charles Richard-Hamelin, James Ehnes and the Seattle Chamber Music Society, the Metropolis Ensemble, and the New Orford String Quartet have received a Grammy nomination, a Juno Award, and multiple Felix and Opus Awards.
Mr. Wan holds three degrees from the Juilliard School and is currently Assistant Professor of Violin at the Schulich School of Music of McGill University, and Artistic Director of Les Solistes de l’OSM. He plays a Michel’Angelo Bergonzi violin (1744), on generous loan from the David Sela collection, for which he extends his warmest thanks. He also performs on an 1860 Dominique Peccatte bow, graciously loaned by Canimex.
Canadian Alexander Read has quickly become a sought-after performer on the international music scene. He was appointed Principal Second Violin with the OSM in 2013. His recitals and concerto performances have been broadcast on Radio-Canada, and he has presented concerts across the Americas, Europe, Asia, and Australia.
An avid chamber musician, he has appeared at the Ottawa International Chamber Music Festival, Concerts aux Îles du Bic, Domaine Forget, Verbier Festival, Norfolk Chamber Music Festival and the Montreal Chamber Music Festival. His interest in historical performance has led to collaborations with leading musicians of the field, including
members of the London Haydn Quartet. He is on the faculty of the Schulich School of Music at McGill University
Johannes Debus has been Music Director of the Canadian Opera Company (COC) since 2009, having been appointed immediately following his debut. His 2019-20 season includes performances of Rusalka, Hänsel und Gretel, and The Flying Dutchman.
Recent highlights include Debus’s debuts with the Seattle, Oregon, and Milwaukee Symphonies; Santa Fe Opera conducting Jenůfa; ORF Vienna Radio Symphony Orchestra; Hallé Orchestra; and the Bilbao Orkestra Sinfonikoa, and return engagements with the Frankfurt Radio, Toronto, Kansas City, and San Diego Symphonies; the Metropolitan Opera conducting The Tales of Hoffmann; and the Bregenz Festival conducting the Austrian premiere of Goldschmidt’s Beatrice Cenci with the Vienna Symphony.
Debus conducts regularly at the Bayerische Staatsoper Munich, Staatsoper unter den Linden Berlin, and Frankfurt Opera and has appeared in new productions at English National Opera and Opéra National de Lyon. He made his debut at the BBC Proms with Britten’s Sinfonia in 2014, and conducted a new production of The Tales of Hoffmann at the 2015 Bregenz Festival.
As guest conductor, he has appeared at several international festivals such as the Biennale di Venezia and Schwetzingen Festivals, Festival d’Automne in Paris, Lincoln Center Festival, Ruhrtriennale, Suntory Summer Festival, and Spoleto Festival. He has appeared with The Cleveland Orchestra, Boston Symphony Orchestra, and the Philharmonia in London.
Debus graduated from the Hamburg Conservatoire before being engaged as répétiteur and, subsequently, Kapellmeister by Frankfurt Opera where he acquired an extensive repertoire from Mozart to Thomas Adès. At home in both contemporary music and the core repertoire, he has conducted a wide range of world premieres and works of the twentieth and twenty-first centuries. He has collaborated with internationally-acclaimed ensembles such as Ensemble Intercontemporain, Ensemble Modern, Klangforum Wien, and Musikfabrik. He enjoys an ongoing relationship with the Royal Conservatory of Music in Toronto.
Principal Cello of the Orchestre symphonique de Montréal since 1999, Brian Manker leads a diverse musical career as a performer and pedagogue. Besides giving frequent solo concerto performances with the OSM, Mr. Manker is a member of the Opus and Juno Award-winning New Orford String Quartet. Currently a Professor at the Schulich School of Music of McGill University, Brian launched the Beethoven Project and founded the Adorno Quartet in 2007, whose objective is to perform all Beethoven’s quartets in their original setting: a private salon. In 2010, he made a recording of the complete Cello Suites of J. S. Bach. Brian Manker plays a cello built in Venice c. 1728–1730 by Pietro Guarneri with a bow crafted c. 1850 by Joseph René Lafleur, generously loaned to him by Canimex.
Victor de Almeida
Recently appointed Principal Viola of the Orchestre symphonique de Montréal, Brazilian-American Victor de Almeida served as Principal Viola of the Vancouver Symphony Orchestra during the orchestra’s 2018-2019 season. A double prizewinner at the 2008 Primrose International Viola Competition, Victor de Almeida has enjoyed a busy career as a Los Angeles-based musician in the Hollywood film and television industry, playing in over 500 major motion pictures and television shows. A prodigy, Victor de Almeida began his career as a soloist with the Recife (Brazil) Philharmonic at the age of 15. Since then he has performed as a recitalist across America and in Brazil.
Victor has served as Principal Violist of the Cincinnati Symphony Orchestra and Associate Principal Violist of the Indianapolis Symphony Orchestra. He constantly seeks new music to premiere, and has contributed substantially to the existing repertoire for viola by transcribing works for other instruments. This includes his 16-year project to transcribe the orchestral score of Igor Stravinsky’s The Rite of Spring for viola and piano. A passionate advocate for the instrument, Victor de Almeida continues his mission to inspire the world to know and recognize the beautiful sound of the viola as a solo instrument.