It was Sunday evening the ninth annual hearing of the Requiem of Mozart climbed by Michel Brousseau.  His orchestra says “Philharmonic” counted only 30 musicians, but the choir carrying the same ambitious name took on two other choral formations for a big total closely of 200 voices. 

An audience more considerable, more largely younger and more surprisingly more attentive, filled the basilica Our Lady.  Certain will persist themselves nevertheless to repeat a little everywhere that “the classical music dies itself”. 

The ultimate one and unfinished Requiem is not the work more representative of Mozart since it is not of him than in left.  This is not not more a very long score:  50 minutes about.  Two good reasons that call the addition of another Mozart.  Sunday, Mr. Brousseau added, at the beginning of programs, the Concerto for two pianos. 

The two pianists came from Sicily, where Mr. Brousseau will go the next summer with his choir.  “Cultural exchanges” visible?  Maybe.  For the moment, here two pianists that play with a voucher together and that play Mozart with a certain taste, except for a slow movement of an improper slowness. 

The extremely quick tempi adopted for certain parties of the Requiem - for the Said irae, for example - were more justified.  Memory leader, the boss there sacrificed not never the clarity and neglected for as much the meditative episodes.  To signal, the quality of high voices (sopranos and ténors), so often a problem with the choirs, amateurs or no. 

Mr. Brousseau brought back us alas! the enough any soprano of the last year, in red blinding, flanked this time of our very low-cut Julie Nesrallah that one imagines in Amnéris of Assistance rather than to the church.  More of abstemiousness of the masculine side: sweet ténor with Figueroa, harsh stamp with Butcher.