Prélude à l'opéra

Page 1

Pauline Vaillancourt, artistic director


In the magnificent hall of the Monument-National in Montreal, where this opera’s creation would have taken place in autumn 2020, empty of its public, technicians, artists, and creators, the writer is alone with his dreams of success and comes to wander.

ABOUT Prélude à l’opéra New to the action of the original libretto, we meet the writer, who roams these empty places. Brought to life by Mikaël (Sébastien Ricard), one of the characters of L’orangeraie, armed simply with his text, and with only a few props and music which was pre-recorded in the same hall, he will bring the empty space to life, while respecting the rules which difficulty has ­necessitated. Supported by the orchestra and its music, which is very alive in his consciousness, Mikael will superimpose the delivery of his text in order to encourage certain characters of the opera to sing their arias in spite of all that is lacking. He will make them appear and help them as best he can with the use of clever minimal lighting and poignant props, until he is stripped himself, exhausted. He would have liked to make hope arise.


ABOUT OPeRA L’ORANGERAIE LIBRETTO Amed and Aziz are twin boys. They live with their parents in the orange grove that their paternal grandfather grew in the desert. One night, a bomb from the other side of the mountain lands on their grandparents’ house and kills them. Soulayed, the army commander from a neighbouring village, comes and asks Zahed to avenge the death of his parents: he has brought with him a belt of explosives. Zahed must choose which of his two sons will become a child suicide bomber, Amed or Aziz. Choosing Aziz is out of the question to him as Aziz suffers from a fatal illness. A sacrifice cannot be made of what is already sacrificed; that would insult God. Amed is the one who will go. Tamara disagrees with her husband’s choice. Wanting to save one of her sons from death, she goes behind his back and asks Aziz to take his brother’s place. The two brothers switch places. But after the death of his martyr brother, Amed is struck by remorse and reveals the truth to his father who throws him out of the house immediately. Amed must go into exile in America where Dalimah, Tamara’s sister takes him in. About 10 years later, Amed is participating in the making of a film. Mikaël, the director, proposes Amed play the role of Sony, a child who faces a mercenary who killed his parents. Amed refuses to play this role, which hits too close to home considering his painful past. To justify his refusal, Amed reveals to Mikaël the true mission of his brother Aziz, who committed a suicide bombing amidst a group of a hundred children. Amed refuses to act in the play. The last day, Amed surprises everyone by appearing on stage in the role of Sony. For a moment, he is Sony, Aziz and Amed. He has conquered the ghosts of his tragic past. He finally talks of peace.

© Manuel A. Codina

The novel L’orangeraie has won numerous prizes since its publication. It has been translated into the following languages: Arabic, Hebrew, Slovenian, Macedonian, Ukrainian, Croatian, Czech, Danish, Korean, Chinese, Spanish, Turkish, Swedish, Greek, Catalan, Dutch, English, Italian, German.


Creative team Pauline Vaillancourt and Manuel A. Codina, direction Zad Moultaka, music (excerpt from the opera L’orangeraie) Larry Tremblay, libretto (excerpt from the opera L’orangeraie) Pauline Vaillancourt, staging Marianne Thériault, stage management and costumes Jacques-Lee Pelletier, make-up Frédéric Auger, sound Lorraine Vaillancourt, conductor

Performers Nicholas Burns, counter-tenor | Geoffroy Salvas, baritone | Stéphanie Lessard, soprano | Jacques Arsenault, tenor | Arthur Tanguay-Labrosse, tenor | Stéphanie Pothier, mezzo-soprano | Dion Mazerolle, baritone | Dominic Veilleux, b­ ass-baritone | Sébastien Ricard, comedian NOUVEL ENSEMBLE MODERNE (NEM) | Lorraine Vaillancourt, conductor | Jeffrey Stonehouse, flute | Julie Sirois-Leclerc, oboe | Hubert Tanguay-­ Labrosse, clarinet | Charlotte Layec, clarinet | Michel Bettez, bassoon | Jocelyn Veilleux, horn | Lise Bouchard, trumpet | Angelo Muñoz, trombone | Julien Grégoire, percussion | Philip Hornsey, percussion | Francis Perron, piano | Johanne Morin, violon | Hubert Brizard, violon | Lyne Allard, violon | François Vallières, viola | Julie Trudeau, cello | Yannick Chênevert, bass

PRODUCTION TEAM Anne Plamondon, production manager Benoît Jolicœur, technical director Manuel A. Codina, camera 1, editing, calibrator Bruno Desrosiers, camera 2 Maxime Lambert, sound assistant Francis Perron, piano reduction 4

Major producer

Coproduction with

Chants Libres Founded in 1990, Chants Libres offers an operatic repertoire adapted to the colours of modernity, constantly exploring new techniques and approaches to vocal art, and working in close collaboration with creators and researchers of all disciplines. For 30 years Chants Libres has played an essential role in the production and the diffusion of new operatic works. After having seen international premieres in Montreal, the company’s 16 creations have toured the world, have been noted by 8 large-scale festivals, and won multiples prizes.

Nouvel Ensemble Moderne Founded in 1989 by Lorraine Vaillancourt, le Nouvel Ensemble Moderne (NEM) is a chamber orchestra consisting of 15 musicians which offers compelling performances of today’s music, giving it the time and attention it deserves. Ensemble in residence at the music faculty of l’Université de Montréal, its repertoire, based on of the 20th and 21st centuries ­classics, reflects the variety of current esthetics, is open to music from all the ­continents and reserves a special role for creation. The Nouvel Ensemble Moderne receives grants from the Canada Council for the Arts, the Conseil des arts et des lettres du Québec and the Conseil des arts de Montréal.


CREATORS PAULINE VAILLANCOURT, Directing, staging, Artistic Director of Chants LIbres For 50 years, Pauline Vaillancourt has led an active international career as a performer of classical and contemporary opera, a creator and a stage director. Preferred performer of numerous composers, she champions their works, collaborates with renowned conductors and stage directors, and participates in many festivals (Düsseldorf, Montpellier, Avignon, Angers, Aix-en-Provence, Strasbourg, London, Valencia, Buffalo, Poland, Hungary, Lyon, Vienna and Rome, as well as at Carnegie Hall in New York.) Founding member of Chants Libres and Artistic Director since 1990, she conceives, stages and performs many productions of this vocal creation company. Throughout her career, she has been attributed the Award of Excellence Victor-Martyn-Lynch-Staunton by the Canada Council of the Arts, the Service Award 2015 by Opera America in New York and the Prix Albert-Tessier 2019. She has recorded for the Amberola, Sonart, SNE, Salabert/Actuel, Umus, Port-Royal, Ariane, Empreintes digitales, Doberman-Yppan, Mode, Atma and Wergo labels.

Manuel A. Codina, co-producer, photo director and video editor


Director, Cinematographer, Editor and Scriptwriter, Manuel A. Codina has worked for over 10 years on numerous films, TV series, corporate videos and ads in Quebec and in Europe. Within Gaspacho Films, Manuel A. Codina has produced over six hundred minutes of television content, including more than a hundred television commercials. Deeply appreciated by actors for his listening, his sensitivity, and his ability to nourish their confidence, he inspires a friendly, efficient and enjoyable atmosphere on his sets, as much for his actors as his technicians. A filmmaker of great technical mastery, he understands how to make the most of modern technologies. He produced multi-camera video recordings for seven of Chants Libres’ opera productions: La porte (2018), Yo soy la desintegración (2017), Le rêve de Grégoire (2014), Alexandra (2012), Arias (2011), Opéra Féerie (2010), as well as the editing for Alternate Visions (2007).


© Catherine Peillon

Zad Moultaka (1957) is a French-Lebanese composer and visual artist. He began the piano at the age of five. In 1984, he moved to Paris. Yet, in 1993, Zad Moultaka put a voluntary end to this career to devote himself to composition and painting. He founded the ensemble Mezwej in 2004 to explore the boundaries and frictions between writing and orality, thereby pursuing great stage and musical adventures. 2011 was a turning point in his artistic life, when the expression that took shape in concrete materials (textures, pigments, liquids, etc.) pushed him to experiment with another form of struggle and carry out a transmutation of matter. In 2017, several major events reinforced Moultaka’s international position: and conception and realisation of – ŠamaŠ –, an audiovisual installation for the Lebanese Pavilion at the Venice Biennale d’Arte, 2017. In June 2018, – ŠamaŠ – was hosted at the Sursock Museum in BeirutLebanon; and in August to the island of Suomenlinna in Finland, before its touring presentation in Norway… In September, Zad Moultaka created – Don’t Fall – a work in situ in the architecture of Oscar Niemeyer in Tripoli and a monumental painting at the 9th edition of the Beirut Art Fair in Lebanon. In October, a new sound and visual installation – La Premiere Nuit du Temps – has been exhibited in Nuit Blanche at the Planétarium of Palais de la Découverte in Paris. A new installation – Murmures – is produced on November 8, for one week at Pompidou Metz as part of “Peindre la Nuit” exhibition. In 2019, he is appointed by the Vanhaerents Fondation to create a sound and visual installation, a mystical dialogue around – The Death of James Lee Byars – Zad Moultaka in dialogue at Santa Maria della Visitazione-Zattere, Venice, Italy, in Collateral with the 58th Venice Biennale, 2019. He composed an opera – Delirio – at the Tischlerei of the Deutsche Oper in Berlin; a sound a visual installation – land escape – during the 3rd Biennale of the photographers in the Institut du Monde Arabe in Paris; an opera for children – Drei Miese, Fiese Kerle – in Gelsenkirchen, Germany in 2020…


LARRY TREMBLAY, LIBRETTO Larry Tremblay is a writer, director, actor and kathakali specialist. He is the author of 30 books as a playwright, poet, novelist and essay writer. His work has been translated into 20 languages. In 2005, the comic opera A Chair in love, music by John Metcalf and libretto by Larry Tremblay, was produced in Wales under direction of Keith Turnbull. In 2006, four of Larry Tremblay’s works were presented on stage in Montreal, including La hache (The Axe), which was performed at the Théâtre de Quat’Sous. His play The Dragonfly of Chicoutimi was recreated at the Festival TransAmériques (FTA) in 2010 under the direction of Claude Poissant. In 2011, Cantate de guerre (War Cantata) (SACD award and Michel-Tremblay award, 2012) opened the season of the Théâtre d’Aujourd’hui in Montreal in a production by Martine Beaulne. In 2012, he published Le Christ obèse (The Obese Christ), a novel that earned high critical acclaim. In 2014, 2015 and 2016, L’orangeraie (The Orange Grove) won some 15 awards including the Prix des Libraires du Québec, the Prix des collégiens and the Prix des Lycéens Folio and was published in around 20 countries. In 2015, Claude Poissant produced Grande écoute (Théâtre PàP). In 2016, Larry Tremblay adapted his novel, L’orangeraie (The Orange Grove) into a play that Claude Poissant directed at the Théâtre Denise-Pelletier in Montréal and the Trident in Québec. He published a new novel L’impureté (Impurity) and also created two new plays: Le Joker (The Joker), at Théâtre de Quat’Sous (directed by Éric Jean) and Le garçon au visage disparu (The Boy with the Missing Face), produced by Le Clou (directed by Benoît Vermeulen). In 2017, his novel Même pas vrai, illustrated by Guillaume Perreault, won the prestigious TD Canadian Children’s Literature Award. In 2018, his piece Marco bleu was created by Théâtre de l’œil, directed by Martine Beaulne. In 2019 he published a 6th book of poetry, L’œil soldat and a new novel, Le deuxième mari. Larry Tremblay is an associate professor at the UQAM École supérieure de théâtre where he taught drama and playwrighting until 2009.


Lorraine Vaillancourt, conductor

© Bernard-Prefontaine

A conductor and pianist, Lorraine Vaillancourt is the founder and musical director of the Nouvel Ensemble Moderne (NEM), the ensemble-in-residence at the Université de Montréal’s Faculty of Music since 1989. A full professor at this university since 1990, she led its Contemporary Music Workshop from 1974 until retiring from teaching in 2016. Lorraine Vaillancourt is regularly invited by different ensembles and orchestras, both at home and abroad. In Canada, she has conducted the Montreal Symphony Orchestra, the Orchestre Métropolitain and the Orchestre symphonique de Québec; overseas, she has led the Orchestre de Cannes, the Gulbenkian Orchestra (Lisbon), the RAI National Symphony Orchestra (Turin), the Orchestre Philharmonique de Nice, the Ensemble Orchestral Contemporain (Lyon), ICTUS (Brussels, Lille), the Ensemble Sillages (Brest, Nice), Les Percussions de Strasbourg, and very recently, the Plural Ensemble (Madrid) and the NEC (La Chaux-de-Fonds, Geneva) in 2016, and New York’s ICE and TALEA ensembles in 2018-2019. Lorraine Vaillancourt was a founding member, along with composers José Evangelista, John Rea and Claude Vivier, of the Montreal concert company Les Événements du neuf (1978 to 1989). In 1990, she was the driving force behind the creation of the North American journal CIRCUIT, a publication dedicated to 20th-century music. She was the president of the Conseil québécois de la musique (CQM) from 1998 to 2001. She subsequently sat on the board of directors of the Conseil des arts et des lettres du Québec (CALQ) until 2006. She is also a member of the Royal Society of Canada and the Ordre du Bleuet. The recipient of an honorary doctorate from Université Laval in Quebec City in June 2013, Lorraine Vaillancourt was named a Member (C.M.) of the Order of Canada in February 2016, in recognition of her considerable contribution to contemporary music. That same year, she received the Homage Award at the Opus Awards ceremony, as well as the Prix Denise-Pelletier granted by the Government of Quebec in honour of her outstanding career in the performing arts. In 2018, she was named a Knight of the Order of Quebec and, in 2019, Lorraine Vaillancourt was awarded the Medal of the National Assembly of Quebec, a prestigious distinction recognizing her major contribution to Quebec’s cultural life.


PERFORMERS Nicholas Burns, counter-tenor  (Amed)

© Tam Lan Truong

Born in Vancouver, counter-tenor Nicholas Burns has been said to possess a “thrilling voice” and was described by Opera Canada as being a “revelation”. Most recently, he performed Bach cantatas with Philippe Herreweghe at the Britten-Pears Young Artist Programme. Nicholas has also appeared with the American Bach Soloists, Early Music Vancouver, Arion Baroque Orchestra, The Theatre of Early Music, King’s College Halifax, le Studio de musique ancienne de Montréal, L’Harmonie des saisons, Clavecin en concert, Montréal Baroque, Les Idées Heureuses, l’Orchestre symphonique de Longueuil, and the Thunder Bay Symphony Orchestra. Upcoming performances include Bach cantatas at Bachfest Leipzig, the title role in Handel’s Giulio Cesare, Lotti’s Missa Sapientiae with Tafelmusik and Bach’s Actus Tragicus with the American Bach Soloists.


Geoffroy Salvas, baritone  (Soulayed)

© Manuel A. Codina

Winner of the Operetta First Prize at the International Singing Competition of Marseille 2017, Geoffrey Salvas was New England Finalist of the Metropolitan Opera National Council 2019, laureate of the French melody competition Classica 2019 and recipient of the Jacqueline Desmarais Foundation Grant for Young Singers. For the opening concert of the 2018-2019 season of the Montreal Symphony Orchestra conducted by Kent Nagano, he performed the role of Mantoo in Chaakapesh, an opera by Matthew Rickets. The same year, he was invited by Yannick Nézet-Séguin to collaborate on the Deutsche Grammophon recording of bass Ildar Abdrazakov. He has performed Valentin (Faust), Don Giovanni (Don Giovanni), Morales (Carmen), Mercutio (Roméo et Juliette), Nero (Nero and the fall of Leahman Brothers), Ein deutsches Requiem (Brahms) and Messiah (Handel), and has sung with ensembles such as the Orchestre Métropolitain, Opéra de Montréal, the Montreal Symphony Orchestra and Opéra de Québec.


© Brent Calis

Jacques Arsenault, tenor  (Zahed) From Prince Edward Island, Jacques Arsenault recently performed Basilio and Curzio in Le nozze di Figaro (Mozart) for Toronto’s Against the Grain Theatre, and Piangi in The Phantom of the Opera with Opera on the Avalon in St. John’s, Newfoundland. He recently created the role of Lui in his own male adaptation of Poulenc’s La Voix humaine with Against the Grain Theatre. He was also heard with the National Arts Centre Orchestra in Ottawa in the role of Ambroise Lépine for the Canadian Opera Company production of Louis Riel. In Montreal, he was soloist in Le Manuscrit trouvé à Saragosse by Jose Evangelista with the SMCQ. As an accordionist, arranger, and singer, Jacques joins mezzo-soprano Marjorie Maltais in their duo French Squeeze.

© Jimmi Francoeur

Stéphanie Lessard, soprano  (Tamara)


Stéphanie is a graduate of the Conservatoire de Musique du Québec in Montreal and a third prize winner at both the Concorso Internazionale per cantanti Lirici Spazio Musica in Orvieto and the Montreal Symphony Orchestra Standard Life Competition. She has performed with I Musici, Amati Ensemble, Chants Libres, Orchestre symphonique de Trois-Rivières and many more. Her concert performances include Bach’s Magnificatand St. John’s Passion, Mozart’s Requiemand Great Mass in C Minor, Haydn’s Schöpfung, B ­ eethoven’s Missa Solemnisand Ninth Symphony, Dvorak’s Te Deumand Stabat Mater. Recent roles include Micaëla (Carmen) with Société d’art Lyrique du Royaume, Frida Kahlo (Yo soy la desintegración) with Chants Libres in Montreal, Marguerite (Faust) with St.Petersburg Opera Florida, Almirena (Rinaldo) with Pacific Opera Victoria and Violetta (La Traviata) with la Société d’art lyrique du Royaume. Recent concerts include Lonely Child (Claude Vivier) with Orchestre de la Francophonie, Misa Tango (M. Palmeri) with Orchestre symphonique de Longueuil, Beethoven’s Ninth Symphony with l’Orchestre Symphonique de l’Estuaire, Requiem and Vesperae solennes de confessore (Mozart) with Choeur de la Prairie.

Arthur Tanguay-Labrosse, tenor  (Aziz) Arthur Tanguay-Labrosse has sung for many years in some of the greatest choirs in Quebec, including the choir of the Church of St-Andrew and St-Paul, the chamber choir Voces Boreales, the Montreal Symphonic Orchestra choir and La Chapelle de Québec. As a soloist, he has performed regularly with the company Ballet-Opéra-Pantomime, in the roles of Orpheus in the operatorio Orpheus on Sappho’s Shore by the Canadian composer Luna Pearl Woolf, Kaherdin in Le Vin herbé by Frank Martin, and the ‘third trader’ in the Canadian creation of Nero and the fall of the Lehman brothers, by the American composer Jonathan Dawe. He was heard as second tenor in Monteverdi’s Vespers of the Blessed Virgin with Ensemble Caprice under the direction of Matthias Maute at both the Montreal Baroque Festival and at Lamèque International Baroque Music Festival. Last February, he sang the role of the archeologist in L’Hypothèse Caïn by Michel Gonneville.

Stéphanie Pothier, mezzo-soprano  (Dalimah) © Pierre-Etienne Bergeron

Stéphanie Pothier is at home in a widely varied lyric repertoire, from Baroque coloratura to new works, as well as the full spectrum of the romantic repertoire. Recent performances include Wagner’s Parsifal and Bruckner’s Mass no 3 in f-minor with Yannick Nézet-Séguin, Jenkins’ The Armed Man at the Festival de Lanaudière with Stephen Layton, Beethoven’s Choral Fantasy with the Montreal Symphony Orchestra and Kent Nagano, Mozart’s, Verdi’s and Duruflé’s Requiems, Prokofiev’s Alexander Nevsky, Beethoven’s Ninth Symphony, and Bach’s Christmas Oratorio and St. Matthew Passion. Very active on the contemporary music scene, she premiered Vera Lynn in Julien Bilodeau’s Another Brick in The Wall at Opéra de Montréal, Fée Tourterelle in Gilles ­Tremblay’s L’eau qui danse (Chants Libres), and Lily in the Canadian premiere of Lotus Lives (Su Lian Tan). In 2018, Stephanie founded the collective Projet ClairObscur which incorporates animated projections of her photography into recital form.


© H. Luis Rustand

Dion Mazerolle, baritone  (Kamal) Acadian baritone Dion Mazerolle has earned a solid reputation in Canada and Europe in both traditional and contemporary opera. Recently he returned to Opéra de Québec in Bizet’s Carmen and Germont with La Société d’art lyrique du Royaume in Verdi’s La Traviata. He was also heard in the Canadian opera Louis Riel by Harry Somers at both the Canadian Opera Company and at the National Arts Centre in Ottawa. Dion also collaborated with Chants Libres in The Trials of Patricia Isasa by Kristin Nordeval and with Against the Grain Theatre in Claude Vivier’s Kopernikus. He was seen this past season as the Four Villains in Les contes d’Hoffmann with Société d’Art Lyrique du Royaume, and had his premiere at the prestigious Opéra National de Lorraine in France in the role of Roi de Trèfle in Prokofiev’s L’amour de trois oranges.

© Atwood Photographie

Dominic Veilleux, Bass-baritone  (Halim)


Bass-baritone Dominic Veilleux has been praised for his rich and powerful voice, as well as his strong comic and dramatic skills. Mr. Veilleux has performed numerous roles including Leporello (Don Giovanni) and Agamemnon (La belle Hélène) on tour with Jeunesses Musicales Canada, Papageno (Die Zauberflöte) with Prague Summer Nights Festival, Figaro (Le nozze di Figaro) with Accademia europa dell’opera, D’Estillac (La veuve joyeuse), Erster Priester (Die Zauberflöte), Marco (Gianni Schicchi), Fiorello (Il barbiere di Siviglia) and Marchese d’Obigny (La traviata) with Opéra de Québec. In concert, he has been a featured soloist with many Quebec ensembles, such as Chœur Les Rhapsodes (Mozart’s Requiem, Bach’s Oster - and Himmelfahrtsoratorium, and Vivaldi’s Magnificat and Gloria), Ensemble Polyphonia (Duruflé and Fauré’s Requiem), Orchestre symphonique de Lévis (Beethoven’s Ninth Symphony) and Ensemble vocal A piacere (Dubois’s Sept dernières paroles du Christ).

Sébastien Ricard, comedian  (Mikaël – the author) Sébastien Ricard dedicates his talent to both song-writing, as a founding member of the band Loco Locass, and to acting. He is well known to the public through the TV series Tabou, Olivier, 30 Vies, En Thérapie, Fortier, Les Hauts et les bas de Sophie Paquin, Nos Étés III and Une autre histoire. On stage, he participated in numerous Brigitte Haentjens productions (théâtre de création Sybillines); La Dame aux Camélias, Les manuscrits du déluge, Richard III (TNM); l’opéra de quat’sous, Woyzeck and Vivre (Usine C); La nuit juste avant les forêts (Ateliers Jean-Brillant); Big Shoot (Salle Fred Barry); Kamouraska (Théâtre Denise Pelletier); Les oiseaux de proie (Théâtre Jean Duceppe) and Les Enfants d’Irène (Théâtre Petit à Petit). On the big screen, he received the Jutra Award for best actor for his Dédé Fortin in Dédé, à travers les brumes (Duval) and acted in Une jeune fille (Martin), Avant que mon cœur bascule (Rose et Lasnier), De ma fenêtre, sans maison (Zehil), Les invasions barbares (Arcand), 15 février 1839 (Falardeau), Gabrielle (Archambault) and Hochelaga, terre des âmes (Girard).




Š Manuel A. Codina

CHANTS LIBRES TEAM Pauline Vaillancourt, Artistic Director Marie-Annick Béliveau, Assistant Artistic Director Marilyn Carnier, Executive Director Guillaume De Pauw, Communications Stéphane Dumont, Administrative Director Alain Labonté, Press agent Christian Campana, graphist Sheila Fischman, libretto translator BOARD OF DIRECTORS President: Me Olivier Laurendeau, Lawyer @Laurendeau Rasic Vice-President: Éric Létourneau, Interdisciplinary artist Secretary & Treasurer: Annik Geoffroy, @Yves R. Hamel et Associés inc. Administrator: Marie-Annick Béliveau, Lyrical artist Administrator: Dominique Blain, Visual artist Administrator: Pauline Vaillancourt, Stage Director, Artistic Director


NOUVEL ENSEMBLE MODERNE (NEM) TEAM Lorraine Vaillancourt, Founder and Music Director Normand Forget, Artistic Director Valérie Bazinet, General Co-Director Alain Beauchesne, General Co-Director Simon Chioini, Production Manager Léa Houtteville, Communication and Digital Strategy Manager BOARD OF DIRECTORS Chairman: Gaëtan Gravel, President, Le Labo à musique — Vice-chairman: Jean-Guy Côté, Associate Director, Institut du Québec Treasurer: Nicolas Martin, COO, Cœur de pirate inc. Secretary: Sofiane Mohand Cherif, Events and Partnerships Coordinator — Institutional Communications and Public Relations, Société de Transport de Montréal ADMINISTRATORS Normand Forget, Artistic Director, NEM Me Jacinthe Ladouceur, Les Avocats Ladoudeur Jean-Michaël Lavoie, Associate Vice-Dean of Digital Presence Development and Societal Commitments Lorraine Vaillancourt, Music Director, NEM François Vallières, Representative of NEM musicians