Les Violons du Roy: French Times

Concert

True to their prestigious reputation, Les Violons du Roy are preparing a breathtaking concert under the direction of conductor Thomas Le Duc-Moreau. Enhanced by the mastery and finesse of this renowned string orchestra, the works will evoke fragments of the past. Among the selected pieces is Debussy’s String Quartet in G minor, which is rarely performed by an orchestra of this calibre. The expert interpretations of this ensemble are acclaimed on stages worldwide and will undoubtedly leave you speechless.

PROGRAM

Artists

Ariane Brisson
Carving a unique path with her sincere musicality and refined interpretations, flautist Ariane Brisson captivates audiences and critics, and has been selected as « Découverte de l’année » at the 24th Prix Opus Gala and Grand Prize winner of the Prix d’Europe competition. In recent seasons, Ariane Brisson has been invited to perform as a soloist with the Trois-Rivières and Drummondville Symphony Orchestras, I Musici and with the Neues Zürcher Orchester (Switzerland), performing varied works from Johann Sebastian Bach to Guillaume Connesson with enthusiasm and ease.

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Thomas Le-Duc Moreau
Young conductor Thomas Le Duc-Moreau’s enthusiastic approach to conducting, combined with his precision and artistic sensitivity, creates an effective and humane symbiosis that is appreciated by musicians and the public. Upon graduating from the Conservatoire, Thomas was appointed Assistant Conductor of the Orchestre symphonique de Québec and the Orchestre symphonique de Montréal. His early career was marked by esteemed collaborations. He now conducts some of Quebec’s leading musical organizations.

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Les Violons du Roy
Les Violons du Roy takes its name from the celebrated court orchestra of the French kings. It was founded in 1984 by Bernard Labadie, now styled founding conductor, and continues under music director Jonathan Cohen to explore the nearly boundless repertoire of music for chamber orchestra in performances matched as closely as possible to the period of each work’s composition. Its minimum fifteen-member complement plays modern instruments, albeit with period bows for Baroque and Classical music, and its interpretations are deeply informed by the latest research on seventeenth- and eighteenth-century performance practice. The repertoire of the nineteenth and twentieth centuries receives similar attention and figures regularly in the orchestra’s programs.

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