30 years ago, Pauline Vaillancourt brought to life the vocal creation company Chants Libres with stage director Joseph Saint-Gelais and writer Renald Tremblay. We will celebrate this anniversary with a series of articles on our blog which will retrace the... Read More

How did your collaboration on Cantique des Oiseaux start? She contacted me after she found my translation of the Cantique des Oiseaux at Éditions Diane de Selliers. Tell us about the libretto of this opera It’s a libretto based on the... Read More

How did your collaboration on La nuit est ma femme start? It was in spring 2017, when I was participating in the creation of the show Nikamu Mamuitun – Chansons rassembleuses that Mathilde Côté spoke to me about the creation... Read More

How would you define your style? It fascinates me to construct an extreme musical tension, an acoustic landscape like a charged and unwavering energetic state, which can be compared to an emotional state of anger. I like to focus on... Read More

How did your collaboration on this opera project begin? With a telephone call from “Chants libres.” In fact, it was Pauline Vaillancourt who, after reading L’orangeraie, had the idea to suggest that I produce a libretto on this. A short... Read More

How did your collaboration on this opera project with Analía Llugdar begin? I had written a radioplay for a Mexican composer who is a friend of Analia Llugdar, Javier Maldonado. She reached out to him because she was having problems with... Read More

Briefly introduce yourself I am an Argentine-Canadian composer, I seek through music to create a soundscape that draws on human emotions, through their strengths, frustrations and poetry. How would you define your style? My style is based on the search... Read More

How did your collaboration on this opera project with Mathilde Côté begin? Mathilde and I met in our teens, at the Petite-Vallée song camp. Since then, we have collaborated on many projects, and as soon as she told me about... Read More

How would you define your style? Most of the time, my music is resolutely melodic and narrative. When I approach a text for a vocal work, I stay very close to the dramatic content of that text to compose, to... Read More

How did you start collaborating on this opera project with Stefan Weisman? American Atheist is our third opera together, after the 30-minute one-act opera, Fade (2008) and the full-length opera, The Scarlet Ibis (2015). Our collaboration is strong, and we naturally flow from... Read More