In the Media

« With hypnotic precision, the notes floated throughout the large hall and I was immediately transported by Olivier’s frenetic and virtuosic dexterity and by Ariane’s masterful breath control with her instrument. […] Despite the frigid temperatures outside, a warm musical symbiosis, both elegant and rhythmical, emanated that evening and won me over. A concert I won’t soon forget! »

« Nous avons eu rendez-vous avec le raffinement à l’état pur au « Il Teatro Luigi Bon » de Udine lors d’un concert présenté le 19 mars dernier par le quintette à vent Pentaèdre […]. Les cinq jeunes Canadiens ont su démontrer leur maîtrise d’une interprétation juste. Le programme de la soirée, qui faisait place à Mozart et à Ligeti, fut des plus intéressants. »

« [Burlesques] est un disque qui inspire, qui donne le goût de pousser plus loin en musique. Je crois que ça peut être un disque qui va allumer beaucoup de jeunes. »

It would be an understatement to say that the ray of sunshine was flutist Ariane Brisson’s performance in Bach’s Suite No. 2, admirably nurtured by the attentive and detailed conducting of Mathieu Lussier. As such, it accounted for the 29 minutes of genuine frankness and real naturalness of the evening. A musical feast and a celebration of Bach.

Vincent Lauzer and Ariane Brisson rendered the discrepancy between the recorder and the metal, transverse flute as understated as possible. They breathed together as one. This ‘hit’ should have concluded the first part (…).

Even before hearing the jury’s verdict, it was obvious that flutist Ariane Brisson stood head and shoulders above the rest. Her performance of Theobald Boehm’s very long and exceptionally challenging Grande Polonaise op. 16 showcased not only her perfectly developed technique, but all manner of refinements in her articulation and tone.