Recital for flute and piano
Photo of Olivier Hébert-Bouchard and Ariane Brisson

Flutist Ariane Brisson and pianist Olivier Hébert-Bouchard combine their talents in this recital to make you (re)discover works by Debussy, Szymanowski, Morlock, Ravel, Vaughan Williams and Janacek under the specter of dream, immaterial and fairyland. Constantly playing on the border between the real and the unreal, the two artists have fun with this ambiguity by presenting you with a new repertoire where it becomes difficult to separate the authentic work from the transcription.


Prélude à l’après-midi d’un Faune (arr. by Gustave Samazeuilh, rév. Brisson) (9’00)

CLAUDE DEBUSSY (1862-1918)


Pohadka (A Fairy Tale) for cello and piano (arr. Brisson) (1915) (12’00)

I – Introduction – Andante
II – Con moto
III – Allegro
IV – Adagio – Allegro – Allegro vivo

LEOS JANACEK (1854-1928)


Sonatine for piano (arr. Brisson) (1905) (10’)

I - Modéré
II - Mouvement de Menuet
III - Animé

MAURICE RAVEL (1875-1937)


The Lark Ascending for violon and piano (arr. Brisson) (1914) (10’00)



I conversed with you in a dream, for flûte and piano (2006) (10’00)

I – I conversed with you in a dream
II – Mingled with all kinds of colours
III – A delicate fire
IV – I conversed with you in a dream (II)



Mythes, for violin and piano Op. 30 (arr. Brisson) (1915) (20’)

I – La fontaine d'Aréthuse
II - Narcisse
III - Dryades et Pan



Ariane Brisson, flute
Olivier Hébert-Bouchard, piano

They said...

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.

Claude Gingras, La Presse

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.

Christophe Huss, Le Devoir

Ariane Brisson captive par la musicalité de son jeu, ainsi que le contrôle et la qualité de sa technique et de ses lignes musicales, mais surtout par la verve avec laquelle elle exprime et fait vivre chaque point, chaque respiration, chaque intention et subtilité de ces récits musicaux, par le prisme de son langage personnel

Alexandre Villemaire, PAN M 360