2020-2021 Season

With Elinor Frey, cello

With Elinor Frey and Michel Angers

A musical and poetic work inspired by the personal stories of people living in long-term care facilities (CHSLDs), which pays tribute to the rich memories of our senio

A project developed in partnership with La Société pour les arts en milieu de santé (SAMS)

Ariadne Lih, Andréanne Brisson-Paquin, Suzie LeBlanc, sopranos; Lucas Harris, theorbo; Antoine Malette-Chénier, triple harp; Dorothéa Ventura, organ

Featuring newly reconstructed works by Chiara Margarita Cozzolani (1602–c.1677), abbess of the convent of Santa Radegonda in Milan. This convent housed one of the most celebrated ensembles of women musicians in early modern Italy and was one of the twenty Milanese female foundations whose music became famous between 1600 and 1700. Cozzolani was one of the most prolific nun-composers of her time, publishing four editions of sacred works. The tragically lost bass part to her first book of motets was recently reconstructed by Lucas Harris (theorbo player; musicologist; conductor) and the completed work will be presented in its world premiere

Myriam LeBlanc, soprano; Célia Laguitton, narrator; Studio de Musique Ancienne de Montréal

Marrying music with history, this tribute journeys across time weaving words from the archives of the first Hospitalières to the reflections of today's nuns with music from 17th century cloisters and private religious gatherings. The concert will provide spectators with a sensory experience that offers insight into the heroic lives of these women and the devout music of the 17th-Century in both France and Quebec. With the magnificent voices of the Studio de Musique Ancienne de Montréal, this rich musical and theatrical creation honours the lives of those who took part in the foundation of Montreal, including Jeanne Mance who founded Hôtel-Dieu and co-founded Montreal.

Featuring works by Venetian composer Barbara Strozzi, one of the most important composers of Italian cantatas and baroque arias. Her sensitivity to text and experimentation with form and style offered nuance and a high level of emotional sensitivity to her music. In 1638, she read both sides of a debate written by Giovanni Francesco Loredano and Matteo Dandolo about whether tears or song are more powerful weapons in love. Not surprisingly, song won and Strozzi had the last word: “I do not question your decision, gentlemen, in favor of song, for well I know that I would not have received the honor of your presence at our last session had I invited you to see me cry and not to hear me sing.”

Publication in March 2022