On March 13 and 14 at Saint-Bonaventure church I recorded as a singer and organist repertoire for two upcoming Disques Benedictus CD releases, one expected this year, the other one – in 2019. The other performers were Marie-Annick Béliveau, Valérie Walker and Jean-Pierre Couturier (singers) and Viviana Gosselin (violoncello). The repertoire includes my work Salve, Regina, as well as Te Deum by Jean-Pierre Couturier, considered the first original composition (non-adapted) work in the Mohawk language, which I premiered in October of 2017 at the Kahnawake reservation.
Nuit Blanche took place tonight, March 3-4 2018! I participated as a singer in Véronique Girard’s improvisation group on an animated score by her. The event, “Les Insomniaques ont soif… de Mix”, part of this year’s Montréal en lumière festival, took place at L’Escalier bar on 552, rue Sainte-Cathérine Est.
On February 28th at 20h Ensemble Paramirabò, in a coproduction with the Société de musique contemporaine du Québec, performed for the third time my work “Les trois diables” in its unstaged, music-only version. The concert took place at the Chapelle historique du Bon-Pasteur in Montréal.
On February 20th, Ensemble Paramirabò performed the children’s version of my show “Les trois diables” at 11h and at 16h30 at Tanna Schulich Hall, Montréal, as guest of Allegra Chamber Music’s children’s season “Bach avant dodo”. The 45-minute work comprises not only music, but also my dramatization of the québécois fairy tale with the same name and an accompanying powerpoint presentation.
The composition was sponsored by the Canada Council of the Arts and Linda Diez.
The Canada Council for the Arts awarded a grant to Ensemble Paramirabò, which will contribute towards my commissioning fees for Les trois diables, which will be performed thrice this month. Special thanks to the Canada Council, as well as to Ensemble Paramirabò and to Linda Diez, for investing in my work.
My book Roger Sessions and his opera Montezuma will be released later this year by the Gutenberg Publishing House, whose support of Bulgarian authours cannot be understated.
It seems that this will be the first published analysis of this work. Though I legally own one of two known microfilms of the unpublished score, I could not find any person or organization to claim ownership of the still copyrighted material. Hence, there will be no illustrated musical examples in the book.
Photojournalist Phil Carpenter from Global News released his reportage about the shoerepair volunteering for “le p’tit père”. I have been volunteering to help Rev. Jean-Pierre Couturier with this for the last five years.