Credit
Marie-Annick Béliveau
Artistic Director
Position at Le Vivier:
Marie-Annick Béliveau has been active on the Montreal musical stage for over 20 years. Her recent performance of Scelsi’s solo “performance opera” Les Chants du Capricorne, under the direction of Pauline Vaillancourt, was unanimously praised by critics, earning her an Opus Award for the Musical event of the year from the Conseil québécois de la musique.
She has made a name for herself as an accomplished performer of the contemporary repertoire, premiering over 30 works in Canada and Europe. She can regularly be heard on CBC and has made several award-winning recordings.
Equally active on the classical stage, she performs as a soloist with several ensembles and has participated in many soundtracks, such as The Red Violin and Paul à Québec.
Marie-Annick is also very active in her community, as a teacher in charge of classical vocal instruction at UQAM, at Camp musical Père Lindsay and CAMMAC music center, and as a performer for La Société pour les Arts en Milieux de Santé.
Multimedias and news
Opera Rimbaud la parole libérée
Un cri qui durerait la mer by Bruce Mather
Golgotha by Walter Boudreau
In the press
"Il est de ces soirées dont on ne sort pas entièrement indemnes, tant la portée du discours musical est forte. L’engagement de la mezzo-soprano Marie-Annick Béliveau, accompagnée par Jean Derome au saxophone, envers ces Love Songs est absolu […] Excellente comédienne, Marie-Annick bouge sur scène, se déplace, nous fixe, devient pensive, ferme les yeux, se met à genoux... gestes parfois anodins mais qui deviennent ici lourds de sens."
- Claudine Jacques, L'Opéra, November 2017
"le tour de force incroyable de Marie-Annick Béliveau, qui a véritablement réussi à assimiler, digérer et faire sien ce rituel musical et théâtral d’une difficulté sans borne. Son travail pour devenir une sorte de corps qui chante est impressionnant."
- Christophe Huss, Le Devoir, March 13th 2015
"Hymnen an die Nacht was sung by mezzo Marie-Annick Béliveau with Louise-Andrée Baril at the piano. This short piece [...] left the night’s deepest impression. [...] Béliveau has a superbly clear tone that was perfect for the deceptively simple distended syllables she emitted, like Cassandra, without hope of being understood."
- Lev Bratishenko, The Gazette, February 22nd 2013
