Frédéric Chiasson


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Les trois exils de Christian E. : the Art of tenderness and simplicity

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January 29th, 2013

I saw Les Trois Exils de Christian E. at the Théâtre d'aujourd'hui this January 23th. Like all the audience, I was deeply moved, both by the text of Philippe Soldevila and Christian Essiambre (the Christian E., or at least his alter ego) and by the latter's actor performance, revisiting his remixed memories. By the way, it is the last week of performance of the piece in Montreal, so go for it! For my part, I am thinking about how to get inspired from this experience...

Plenty of critics already emphasized the brilliance and the Acadian side of the thing. (Christian E. even cites Lamèque once, my home town. Someone else knows that it exists, wow!) But what has touched me most was the great tenderness and the simplicity of the storyteller that tells his past life with his relatives. The staging of Philippe Soldevila is quite bare (lines on stage and a chair, a cellular phone ring for the music, that is all!). But instead of creating a sense of emptiness, it lets the storytelling magic take all the place. Comic and tragic emotions can spread with ease. Moreover, in a Montreal theatre scene, that from afar seems to advocate for dramatic intensity, moral commitment and trash attitude, Philippe and Christian look they are going the opposite way by emphasizing the tenderness in the drama.

Same thing in music. While contemporary music praises “boldness”, the “unprecedented”, the “new technology”, I sometimes feel like going against the current to make a tender and simple music.

One of the last times I wanted to compose that way, it gaves me Champ stellaire.

Champ stellaire (Stellar field)

Samantha Louis-Jean, soprano and Mathieu Gaulin, alto saxophone

I also think about this melody from Masashi Hamauzu, something who will be unheard at the Montréal/Nouvelles musiques festival.


Happy New Year 2013 and Sibelius courses at Saint-Hyacinthe

Judge at Accès Arkea for Codes d'accès


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