Élisabeth Pion is one of the young pianists rising in Quebec. At 27, this former student of André Laplante at the Montreal Conservatory (like Charles Richard-Hamelin) has already made her debut at Wigmore Hall in London, the city where she perfected her skills for a few years.
The proof that she is rising is that she will perform as a soloist with two Montreal orchestras next year: at the opening of the Arion season in October in Mozart and Hélène de Montgeroult and with the Métropolitain in January in a concerto by the Latvian Lūcija Garūta (1902-1977).
We can see right away that Pion likes to constantly think outside the box, which his first album, with Atma, entitled Women of legend, shows with acuity.
The big piece of the disc is the eponymous collection – recently made from scratch by a German publisher from scattered pieces – of portraits of seven mythical women by the French composer Mel Bonis (1858-1937). The faces of Mélisande, Desdémone, Salomé and others parade before our eyes in a genuine impressionist idiom. Lovely music, though not necessarily overwhelming.
Lili Boulanger also occupies an important place with her imposing and serious Theme and Variations in C minor, plus four short pieces. A depth that makes us bitterly regret his death at the age of 24 from tuberculosis.
The rest of the disc, more loosely linked to the female world, stems from the pianist’s avowed passion for French music, which allows us to hear the interesting suite Au gré des ondes, composed by a young Dutilleux for the nascent radio , as well as Debussy’s L’Isle Joyeuse.
Two “snags” to the project’s frankness: an arrangement by Thomas Adès of the “Lullaby” from his own opera The Exterminating Angel, and a sweet piece with jazz accents composed by Pion.
The recording, made last winter in the advantageous setting of the Domaine Forget concert hall, highlights the subtle playing of the pianist, who shows a real love for this music and a consummate art of the pianistic atmosphere. A name to remember.
