8.Little Red Riding Hood

8.Little Red Riding Hood

SEASON PARTNER

Maison symphonique de Montréal

The story of Little Red Riding Hood is an intergenerational classic. Join Kent Nagano and the OSM for the adventures of this brave, lively, and slightly rebellious young girl who lets her guard down on the way to her grandmother’s house. The orchestra will set the scene – unless the Big Bad Wolf can stop them!

 

YOUTH RATE 17 years and under : $10 per concert

TICKETS PRICES

From $22 à $45*

SATURDAY SEPTEMBER 1 2018

10:30AM

Orchestre symphonique de Montréal
Kent Nagano, conductor
Alexandra Sicard, Little Red Riding Hood
Dominique Côté, the Wolf
Sophie Clément, the Grandmother
Martine Francke, the Mother/the Owl
Charles Dauphinais, stage director
Elisabeth Sirois, author

 

Works by Bartók, Beethoven, Bizet, Gounod, Messiaen, Prokofiev, Ravel, Rimsky-Korsakov and Tchaikovsky

 

Performance in French

Programme Notes:

GRANDMA’S GREAT BOOK

What could be more comforting than a good story, lovingly told by a specialist of adventure and memory? Add the sounds of a symphony orchestra, and magic fills the air! But we must make a choice, Grandma – and there are hundreds of tales to choose from!

 

LITTLE RED RIDING HOOD’S STRONG WILL

Mother’s instructions were simple: a short visit to Grandma’s without going through the woods! But this young girl is strong-willed and will not resist the appeal of a shortcut, with all the lovely scenery and cute little animals along the way. That would be much more fun, wouldn’t it?

 

A BIG NICE WOLF?

The wolf seems nice enough, and to get to Grandma’s before sundown, Little Red Riding Hood readily accepts his “help”! Yet all forests have their dark side… and that’s how Little Red Riding Hood falls into the trap.

 

THE WOLF’S CUNNING

Grandma has also been tricked, despite her wise old age. A red bonnet, a small voice, a pull on the doorbell, and presto! The wolf succeeds in fooling the poor ailing grandmother.

 

WHAT BIG EYES YOU HAVE, GRANDMA…

With the help of the forest animals, Little Red Riding Hood finally reaches Grandma’s house. But once inside, she doesn’t recognize her – those eyes, that smell, those long furry arms… Horrors! Under that bonnet looms the big bad wolf! Fortunately, a hunter happens on the scene, and Little Red Riding Hood’s awareness and courage enable him to kill the wolf and to free her and Grandma.

 

IT’S A PROMISE, GRANDMA!

Little Red Riding Hood realizes she has been foolish, for she’s had the fright of her life while greatly endangering her own grandmother’s life. But Grandma easily forgives her for everything… on one condition!

Kent Nagano

Kent Nagano has established an international reputation as one of the most insightful and visionary interpreters of both the operatic and symphonic repertoire. He is Music Director of the OSM since 2006. Maestro Nagano was General Music Director of the Bayerische Staatsoper in Munich from 2006 to 2013. He became Principal Guest Conductor and Artistic Advisor of the Gothenburg Symphony Orchestra in 2013. Since 2015, he has been General Music Director and Principal Conductor of the Hamburg State Opera and Philharmonic Orchestra. Born in California, Kent Nagano spent his early professional years in Boston, working in the opera house and as Assistant Conductor to Seiji Ozawa at the Boston Symphony Orchestra. He was Music Director of the Opéra national de Lyon (1988-1998), Music Director of the Hallé Orchestra (1991-2000), Associate Principal Guest Conductor of the London Symphony Orchestra (1990-1998) and Artistic Director and Chief Conductor of the Deutsches Symphonie-Orchester Berlin (2000-2006) and remains their Honorary Conductor. Kent Nagano was also the first Music Director of the Los Angeles Opera (2003-2006). As a much sought-after guest conductor, Maestro Nagano has worked with the Berlin, New York and Vienna Philharmonics, Chicago Symphony, Dresden Staatskapelle and Leipzig Gewandhaus, and at leading opera houses including the Opéra national de Paris, Berlin State Opera, Metropolitan Opera and Semperoper Dresden. He has won two Grammy awards for his recording of Kaija Saariaho’s L’amour de loin with the Deutsches Symphonie-Orchester and for Busoni’s Doktor Faust, recorded with the Opéra national de Lyon, among other awards. Maestro Nagano was named Commander of the Ordre de Montréal, Grand Officer of the Ordre national du Québec, Companion of the Ordre des arts et des lettres du Québec, and he was decorated with the Governor General’s Meritorious Service Medal. 

Recent recordings with the OSM: A Quiet Place (Decca, 2018); Danse macabre (Decca, 2016); L’Aiglon (Decca, 2015); Saint-Saëns, Moussa, Saariaho: Symphony and New Works for Organ and Orchestra (Analekta, 2015); Complete Violin Concertos of Saint-Saëns (Analekta, 2015).

Recent tours with the OSM: Krakow and Salzburg (2018); United States (March 2016); China and Japan (October 2014); Europe (March 2014); and South America (April-May 2013).

Alexandra Sicard

From the age of 4, Alexandra Sicard began appearing in commercials, and her natural talent was quickly noticed. Soon after, she charmed audiences with her stunning voice in more than a hundred performances of The Sound of Music. She sang the role of Gretl in the production’s first three years and the role Martha for two years after that. On the big screen, she can be seen in the role of Ariane in Reste avec moi directed by Robert Ménard. She has also appeared in the television series Les Argonautes, L’Auberge du chien noir, S.O.S., Légendes urbaines, Trauma, 30 vies, L’Imposteur, and in the English series Helix. On the live stage, she performed the role of Jane in the musical Mary Poppins. She has done voice acting for more than twenty series dubbed for Quebec audiences. An impressive resume for a 14 year-old!

Dominique Côté

Praised for his warm tone, stage presence, and theatrical skill, Dominique Côté has won several first prizes in international competitions. Recently, he sang the unforgettable role of La Comtesse Marie-Laure de Tilly in Les Feluettes by Kevin March with the Edmonton Opera, as well as the roles of Baron Koffre in Le Roi Carotte by Offenbach with the Opéra de Lille and Dr. Falke in Die Fledermaus by Strauss, with the Opéra de Genève. He will be performing Berlioz’s Lelio with Kent Nagano and the OSM to close the OSM’s 85th season, as well as in an Opéra de Montréal production of Bizet’s Carmen conducted by Alain Trudel and staged by Charles Binamé. This fall, audiences can hear him in a world premiere recording of Nicandro e Fileno by Lorenzani with Les Boréades, to be released on the Atma label.

Sophie Clément

Sophie Clément boasts decades of experience as a film, television, and stage actor. On the big screen, the breadth of her skills can be appreciated in Il était une fois dans l’est and in Françoise Durocher, Waitress, both directed by André Brassard. She played leading roles in Michel Brault’s landmark film Les Ordres as well as in L’eau chaude, l’eau frette, directed by André Forcier. On stage, she has brought many an iconic script to life, including Michel Tremblay’s À toi, pour toujours, ta Marie-Lou and Albertine en cinq temps, Denise Boucher’s Les fées ont soif, Réjean Ducharme’s Ha! Ha! and more recently, Christian Bégin’s Pourquoi tu pleures? performed at the Théâtre du Nouveau Monde. She has appeared in several television series, including Catherine, L’Héritage, Moi et l’autre, Virginie, and 30 vies. Recently, she made an appearance in the popular series Unité 9 and will also be featured in Radio-Canada’s 5e rang, set to premiere this fall.

Martine Francke

A graduate of the National Theatre School, Martine Francke has carved out an enviable place for herself within the film, television and theatre industries. On the big screen, she has appeared in several films including both Antoine et Marie and La citratrice, directed by Jimmy Larouche, La dernière fugue directed by Léa Pool, Roméo et Juliette and Idole instantanée, both directed by Yves Desgagnés, and Le grand départ, directed by Claude Meunier. On television, she has held several roles and has been featured in roughly twenty series including Le berceau des anges, Mémoires vives, 30 vies, Toute la vérité, Providence, Trauma, Cher Olivier, Histoires de filles, Virginie, and Détect inc. She is scheduled to appear in a new series entitled Valmont, next September. The live stage also occupies an important place in her career. Her most recent theatre performances include the play Terminus at Théâtre La Licorne, the solo piece Aller-retour, and a production of Boeing Boeing.

Charles Dauphinais

Charles Dauphinais holds a performance diploma from the National Theatre School. In addition to directing various Théâtre Sans Domicile Fixe productions, he has directed four editions of Théâtre d’Aujourd’hui’s benefit evenings, as well as productions Hansel et Gretel and Jack et le haricot magique, produced by the Théâtre La Roulotte in Montreal. He has also staged productions of La vie normale and Blink at Théâtre Prospero, as well as Tout ce qui n’est pas sec and Dénommé Gospodin at Théâtre de Quat’sous. Charles Dauphinais is well known to the OSM, having directed the 2016 and 2017 editions of the Bal des enfants as well as the “Galaxy of Heroes” concert performed at Montreal’s Olympic Park. In 2017, Charles Dauphinais directed a new show by comedian Pierre Hébert, Le goût du risque, as well as a premiere of Emmanuel Reichenbach’s Molière, Shakespeare et moi, in celebration of Montreal’s 375th anniversary.

Elisabeth Sirois

Elisabeth Sirois showed an early interest in acting, improvisation, and entertainment. However, only relatively “later in life” did she decide to embark on an artistic career. At the age of 26, she was admitted to the Conservatoire d’art dramatique de Montréal. It was during these years of study that her artistic identity began to solidify, along with her distinctive voice and her talents as a singer, host, and author. Since 2009, this actor has performed many minor and major roles. Whether in summer theatre productions or artistic intervention projects, either as an author, actor, or singer, Elisabeth Sirois’s art extends to cabaret, television, advertising, and film. Nearly five years ago, she was employed as a community worker with newcomers to Quebec and immediately fell head over heels! Elisabeth has managed, nevertheless, to remain firmly anchored in her artistic career. She is the author of four plays for children that have been performed notably with La Roulotte and the OSM.

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