01/23/25

Ma Virginie

Song title: Ma Virginie

Source: YouTube https://www.youtube.com/watch?v=UVob2wJtKQs (could not find on Naxos)

Strophe Rhyme Line Text
A a 1 Ma Virginie, les larmes aux yeux, (M)
a 2 Je viens pour te faire mes adieux. (M)
B b 3 Ah, Je m’en vais vers l’Amérique, je m’en vais vers l’Occident. (M)
b 4 Oh, adieu donc, ma Virginie, les voiles sont déjà au vent (bis). (M)
A b 5 Les voiles au vent, mon cher amant, (F)
b 6 Cela me cause bien du tourment. (F)
B c 7 Tu subiras une tempête (F)
b 8 De l’orage aussi du vent (F)
C d 9 Tu périras dans un offrage, (F)
b 10 Moi je serai sans amants, (bis) (F)
A e 11 Chère Virginie, ne crains donc rien, (M)
e 12 Je suis un des premiers marins. (M)
B f 13 Je te promets ma mignonnette de revenir au pays. (M)
f 14 Nous nous marierons ensemble, moi et toi, chère Virginie, (bis) (M & F)

Legend: M = male singer; F = female singer

Rhyme Type: Coupled (M); Enclosed and irregular (F)

Rime: Suffisante (e.g., lines 1/2) and pauvre (e.g., lines 3/4)

English Translations

My Virginie, with tears in my eyes,
I come to bid you farewell.
Ah, I'm going to America, I'm going to the West.
Oh, farewell then, my Virginie, the sails are already in the wind (repeat).

Sails in the wind, my dear lover
That causes me much torment.
You will endure a storm.
From the storm also from the wind
You will perish in an offering,
I will be without lovers, (repeat)

Dear Virginie, do not fear anything,
I am one of the first sailors.
I promise you my darling to return to the country.
We will marry together, me and you, dear Virginie, (repeat)

Note: I used “Transcribe Tube” to transcribe lyrics for this piece as I could not find the French lyrics online. Then, I copy and pasted the result into Google Translate to get the English translations as I cannot understand French.

Context

Could be sung in moments of personal reflection, during social gatherings like family events or cultural celebrations, or even during more somber occasions like funerals.

Narrative

The theme of the text is about farewell and the expectation of separation, but it is based on the expression of love and promises to return. In the beginning, the speaker is sad and decides to leave for America and the West. The repeated use of “les voiles sont déjà au vent”, which translates to “the sails are already in the wind” symbolizes departure. In the next section, the speaker’s lover is distraught and looks ahead to the hardships and potential danger, but still pledges to not have lovers during the speaker’s absence. Finally, the speaker reassures their lover that they will return and be together sometime in the future, though they will have to endure many challenges. The development of the poem moves from a sad farewell through anxiety and up to hope and promises about life together in the future.

Historical Influences

In the song, the speaker talks about leaving from Europe to America, which were both destinations during mass migrations, particularly during the 19th century, where people moved in search of better opportunities. These movements often involved leaving behind loved ones and facing the uncertainty of the unknown, themes central to the lyrics.

The themes in the song might be influenced by Romanticism, which is a cultural movement emphasizing emotions, individualism, and the search for personal and national identity. It accords with the themes of longing, separation, and idealization of the future. Much of the literature and poetry of the era dealt with exile, homecoming, and personal and national concerns. The speaker vows to return to Virginie, an idealized figure representing the homeland. The action of leaving—especially as a trip to the Americas—could be due to the socio-economic environment at that time; perhaps the speaker’s separation represents some kind of economic or social necessity in which his promise to return is a metaphor for hope, duty, and loyalty. It may have said something about the pressures on people who were forced to leave their homelands in search of a better life and who often left loved ones behind with promises to return that were not always fulfilled.

The writer’s personal relation to the themes of love, departure, and promises of return might mirror their own life experiences. Maybe the author suffered from separation, migration, or the loss of love due to distance. Cultural influence has probably dictated the idealized depiction of love as emotional and romantic, and a function of the latter may find reflection in the writer’s life through hopes or regrets over promises to return. The romantic ideal of Virginie, perhaps a metaphor for the homeland or a loved one, brings it closer to the personal connection that the writer of the song has with the themes involved.

Related Contents

  • Clifford, Becky. “Marie Madeleine: Exploring Language, Style, and Humour in the Acadian Folksong Tradition.” OUPblog, 2 July 2021, blog.oup.com/2021/07/marie-madeleine-exploring-language-style-and-humour-in-the-acadian-folksong-tradition/. Accessed 14 Jan. 2025.
  • A. Sance, Elisa. “The Great Deportation: A Recurring Theme in Acadian Song.” Khronikos: The Blog, 2 Apr. 2014, khronikosum.wordpress.com/2014/04/02/1247/. Accessed 13 Jan. 2025.
  • Winick, Stephen. “Caught Our Ears: Two French Songs from Maine | Folklife Today.” The Library of Congress, Mar. 2021, blogs.loc.gov/folklife/2021/03/caught-our-ears-two-french-songs-from-maine/. Accessed 13 Jan. 2025.

Suggested Sources

  •  YouTube Recording of Ma Virginie (2017): https://www.youtube.com/watch?v=UVob2wJtKQs
01/23/25

Vive la Canadienne

 

Strophe Rhyme Line Text
A a 1 Vive la Canadienne,
b 2 Vole, mon coeur vole!
a 1 Vive la Canadienne,
c 3 Et ses jolis yeux doux,
B c 3 Et ses jolis yeux doux, doux, doux, et ses jolis yeux doux. (bis)
A d 4 Nous la menons aux noces,
b 2 Vole, mon coeur, vole!
d 4 Nous la menons aux noces,
e 5 Dans tous ses beaux atours,
B e 5 Dans tous ses beaux atours, atours, atours, dans tous ses beaux atours. (bis)
A f 6 Nous faisons bonne chère,
b 2 Vole, mon coeur, vole!
f 6 Nous faisons bonne chère,
g 3 Et nous avons bon goût!
B g 3 Et nous avons bon goût, goût, gout; et nous avons bon gout! (bis)
A h 7 On danse avec nos blondes,
b 2 Vole, mon coeur, vole!
h 7 On danse avec nos blondes,
i 8 Nous changeons tour à tour,
B i 8 Nous changeons tour à tour, tour, tour; nous changeons tour à tour, (bis)
A j 9 Ainsi le temps se passe,
b 2 Vole, mon coeur, vole!
j 9 Ainsi le temps se passe,
k 10 Il est vraiment bien doux!
B k 10 Il est vraiment bien doux, doux, doux; il est vraiment bien doux! (bis)
A a 1 Vive la Canadienne,
b 2 Vole, mon coeur vole!
a 1 Vive la Canadienne,
c 3 Et ses jolis yeux doux!

Song type: Traditional; strophic

Context: former national anthem, portrayal of the happy moments of French-Canadians in the 19th century.

Narrative: Celebration of the French-speaking Canadian identity, celebration of French cultural identity, and preservation of their identity. The theme of cherishing joyful moments together.

Suggested sources:

  • “Vive La Canadienne.” 2025. Chezyolie.com. 2025. https://www.chezyolie.com/2009chansons/chansons_autrefois/vive_la_canadienne.htm.
01/22/25

La belle, si j’avais su!

Strophe  Rhyme  Line  Text 
A 1 a  1  La belle, si j’avais su, la belle, si j’avais cru, 
  a  2  Que jamais nos amours en aurions parvenu.   
A2  a  1  La belle, si j’avais su, la belle, si j’avais cru,   
  a  2  Que jamais nos amours en aurions parvenu.   
B1  b  3  J’aurais partout dépensé mon argent,   
  b  4  Le soir au cabaret avec tous tes parents. 
B2  b  3  J’aurais partout dépensé mon argent,   
  b  4  Le soir au cabaret avec tous tes parents. 
A1  a  5  Si tu l’as défoncé, c’est parce que tu l’as bien voulu.   
  a  6  Combien de fois je te l’ai défendu.   
A2  a  5  Si tu l’as défoncé, c’est parce que tu l’as bien voulu. 
  a  6  Combien de fois je te l’ai défendu. 
B1  c  7  Combien de fois nous avons veillé tous deux   
  c  8  Le soir à la chandelle comme de braves amoureux. 
B2  c  7  Combien de fois nous avons veillé tous deux,   
  c  8  Le soir à la chandelle comme de braves amoureux. 

Rhyme Analysis: Each four-line stanza features two lines that repeat, of the monorhyme type and “pauvre” quality. The second half begins with the same rhyme at the beginning, but then brings in a different rhyming sound (i.e., ab/ac).

The text seems to be split into two parts, sung by two different singers. The first two stanzas are sung by the man, and the last two are sung by the woman. These two singers are presumably meant to embody two lovers who are breaking up. As both singers do not sing back and forth to each other, but rather in a long form monologue one after another, it is likely that the text reflects the point of view of each lover after the relationship has ended. 

The first two stanzas, sung by Allan Mills (embodying the man), is mournful about ending his relationship with his lover. He sings about how he would have tried harder to impress her parents, and splurged them with nights at the cabaret, had he known their relationship was leading to an end. 

The second half is sung by Helene Baillargeon (embodying the woman) who sings about the likely reasons why she has decided to end the relationship. In the first stanza, she sings about how it seems her ex-lover has gotten himself in trouble by getting into one too many fights. The last stanza indicates that their relationship was already in troubled waters and had to be kept secret. 

There is a good indication that this may have been a drinking song; despite the text being about two lovers breaking up, it is light-hearted and comical. This is especially evident in the second stanza when the man sings that he would have wooed his partner’s parents by taking them to a cabaret; a seemingly counterintuitive decision. Also, in contrast to the subject, the rhythm of the music is bouncy and set in a major key.  

Suggested sources:

Related contents:

Acadia

Acadie (Acadia)

Acadian Music

 

01/22/25

V’a l’bon vent (Les trois canards)

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Derrière chez nous y a un étang. (bis)
Trois beaux canards s’en vont baignant.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Trois beaux canards s’en vont baignant. (bis)
Le fils du roi s’en va chassant.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Le fils du roi s’en va chassant, (bis)
Avec son grand fusil d’argent.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Avec son grand fusil d’argent, (bis)
Visa le noir, tua le blanc.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Visa le noir, tua le blanc. (bis)
Ô fils du roi, tu es méchant.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Ô fils du roi, tu es méchant, (bis)
D’avoir tué mon canard blanc !

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

D’avoir tué mon canard blanc ! (bis)
Par-dessus l’aile, il perd son sang.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Par-dessus l’aile, il perd son sang, (bis)
De ses yeux lui sortent des diamants.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

De ses yeux lui sortent des diamants, (bis)
Et de son bec l’or et l’argent.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

 

Suggested Sources:

 

01/22/25

Bal chez Boulé

Dimanche après les vêpr's y aura bal chez Boulé
Mais il n'ira personn' que ceux qui sav'nt danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Tout l'mond'dansait d'son mieux, on s'faisait pas prier
La fill' de "Jos Via-lon" ne voulut pas danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Pourquoi n'dansez-vous pas? êt's vous trop fatiguée?
Ou bien avez-vous peur d'user vos beaux souliers?

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Non, non, ce n'est pas ça, j'ai un p'tit cor au pied,
Je vais me contenter de vous r'garder danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Tinest, le violoneux, laissait pas l'temps d'souffler,
Pour mettr' ça plus soul'vant, tapait de ses deux pieds.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Baptist', qui "câlait l'set", tout tremp' comme un' lavette
S'écria: "Domino! parc' que les femmes on chaud!"

Vogue marinier vogue, vogue,
Vogue, beau marinier.

 

Source: Le bon vieux temps

Suggested Sources:

Related Contents:

 

01/22/25

Acadia

Acadia

[1] Acadia, a region in northeastern North America, has a rich history marked by the first permanent agricultural settlements, along with French colonization, cultural development, and conflicts between European powers. The term “Acadia” is believed to have originated from the Mi’kmaq word “-cadie,” meaning “a piece of land,” though some attribute it to the explorer Verrazzano, who in 1524 named parts of the Atlantic coast “Archadie.” In 1604, Pierre du Gua de Mons took an expedition to build a French colony in North America. Accompanied by Samuel de Champlain, they settled on Île Sainte-Croix. Harsh winter conditions led to numerous deaths, prompting relocation to Port-Royal in 1605. Despite initial success, the revocation of de Mons’ monopoly in 1607 forced the settlers to return to France. Subsequent attempts to re-establish the colony faced challenges, including destruction by British forces in 1613.

[4] Acadian immigrants formed a unique society, combining French traditions and the culture of the Indigenous peoples of the area, primarily the Mi’kmaq. They established agricultural communities, utilizing dyke systems to cultivate fertile marshlands. This lifestyle fostered a close-knit, self-sufficient community with a unique cultural identity. Music played an integral role in Acadian culture, both as a form of entertainment and as a means of preserving traditions. From early on, Acadian music featured songs from France and evolved to include local influences, blending French, Mi’kmaq, and later Celtic styles. Traditional instruments like fiddles and accordions became central to Acadian musical expression, particularly in lively social gatherings like “kitchen parties.” Songs were often passed down orally, reflecting Acadians’ connection to their heritage.

[3] The Acadian song “Le Pêcheur Acadien” was written by Father André-Thaddée Bourque in the early 20th century as part of a series of Acadian nationalist songs and to honor the life and traditions of Acadian fishermen. Likely composed in the Canadian Maritimes, the song captures the deep connection between Acadians and the sea, reflecting their reliance on fishing for sustenance and livelihood. The music features a simple, folk-inspired melody, often accompanied by traditional Acadian instruments such as the fiddle and guitar/mandolin, providing a rhythmic and lively accompaniment [2]. The structure follows a strophic form, with verses narrating the daily life and challenges of Acadian fishermen, emphasizing themes of resilience. 

[1] Acadia’s location made it a focal point of Anglo-French rivalry. The Treaty of Utrecht in 1713 ceded parts of Acadia to Britain, but ambiguities led to ongoing disputes. Tensions culminated in the Great Upheaval of 1755, where Lieutenant Governor Charles Lawrence ordered deportation of approximately 10,000 Acadians. Families were separated, and many perished due to harsh conditions. Most were sent to American colonies while others migrated to France, England, and the Caribbean. In 1763, the British had successfully defeated the French in the Seven Years War. The British authorities allowed Acadians to return to the province under the conditions that they were loyal to the British crown, families to be separated from each other. Today, many institutions assert collective action towards the federal and provincial governments of Prince Edward Island, New Brunswick, and Nova Scotia have ensured that linguistic rights were maintained. More importantly, Acadian descendants have social status and celebrate their heritage through festivals, music, and the preservation of the French language. Regions in the Canadian Maritimes and parts of Maine continue to honor Acadian traditions, reflecting a resilient cultural legacy. 

References

[1] Anon. “Acadia | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 13 Mar. 2006, edited 21 July 2015, www.thecanadianencyclopedia.ca/en/article/acadia. Accessed 21 Jan. 2025.

[4] Anon. “Acadian Culture | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 15 Aug. 2016, edited 20 Sept. 2018, www.thecanadianencyclopedia.ca/en/article/acadian-culture. Accessed 21 Jan. 2025.

[2] Labelle, Ronald. “Acadian Music | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 23 Apr. 2014, edited 4 March 2015, www.thecanadianencyclopedia.ca/en/article/music-in-acadia. Accessed 21 Jan. 2025.

[3] Larry Robichaud – Topic. “Le Pêcheur Acadien.” YouTube, 11 June 2021, www.youtube.com/watch?v=sBQJnHxLQek. Accessed 22 Jan. 2025.

Related Sources

E.S. Griffith, Naomi. Contexts of Acadian History, 16861784. McGillQueen’s University Press, 1992, https://doi.org/10.2307/j.ctt130hhxb. JSTOR. Accessed 21 Jan. 2025.

Glover, Fred. “Acadian Expulsion (Plain-Language Summary) | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 7 July 2021, edited 7 July 2021. www.thecanadianencyclopedia.ca/en/article/acadian-expulsion-plain-language-summary. Accessed 21 Jan. 2025.

Johnson, Marc L., and André Leclerc. “Contemporary Acadia | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 10 July 2019, edited 10 July 2019. www.thecanadianencyclopedia.ca/en/article/contemporary-acadia. Accessed 21 Jan. 2025.

Landry, Nicolas, and Père Anselme Chiasson. “History of Acadia | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 9 Aug. 2013, edited 23 Nov. 2020. www.thecanadianencyclopedia.ca/en/article/history-of-acadia. Accessed 21 Jan. 2025.

University of Maine at Fort Kent. “The First Acadians – Acadian Culture in Maine.” Acim.umfk.edu, 2024, acim.umfk.edu/first_acadians.html. Accessed 21 Jan 2025.

Suggested Sources

[3] Larry Robichaud – Topic. “Le Pêcheur Acadien.” YouTube, 11 June 2021, www.youtube.com/watch?v=sBQJnHxLQek. Accessed 22 Jan. 2025.

01/21/25

À la claire fontaine

À la claire fontaine 
M'en allant promener, 
J'ai trouvé l'eau si belle, 
Que je m'y suis baigné. 

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

J'ai trouvé l'eau si belle,  
Que je m'y suis baigné.
Sous les feuilles de chêne 
Je me suis fait sécher, 
Sur la plus haute branche 
Le rossignol chantait .

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai.

Sur la plus haute branche,
Le rossignol chantait
Chante, rossignol, chante 
Toi qui as le coeur gai, 
Tu as le coeur à rire 
Moi je l'ai à pleurer.

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

Tu as le coeur à rire
Moi je l'ai à pleurer
C'est pour mon ami Pierre 
Qui ne veut plus m'aimer, 
Pour un bouton de rose 
Que je lui refusai.

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

Pour un bouton de rose  
Que je lui refusai
J'ai perdu mon ami 
Sans l'avoir mérité,
Pour un bouquet de roses 
Que je lui refusai. 

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

Pour un bouquet de roses  
Que je lui refusai
Je voudrais que la rose 
Fût encore au rosier, 
Et que mon doux ami 
Fût encore à m'aimer. 

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai.

 

Source: https://www.youtube.com/watch?v=QzrtfA7HHbc

Lyrics source: https://www.iletaitunehistoire.com/genres/comptines-et-chansons/lire/biblidcha_016#histoire

(There are various versions)

Rhyme: monorhyme

Topic/context: unrequited love

The earliest version is 1604. This song was popular in Belgium and in Canada. Numerous versions of both music and lyrics can be found, and versions known in France and Belgium vary from those known in Canada.

The song speaks of a lover bathing in a fountain, hearing a nightingale singing, and thinking about her lover whom she lost long ago after refusing a bouquet of roses he was offering her, most likely symbolizing him proposing to her. The nightingale’s heart laughs but hers weeps.

01/20/25

Vive la Canadienne (1952)

Note: Vive la Canadienne was the national song mostly sung in Québec before “O Canada” became popular. Its origins can be traced back to the early 1840s (Hélène Plouffe, 2013). This album “Folk Songs of French Canada,” which was released in 1952 on January 1st by Smithsonian Folkways Label, contains a collection of traditional Canadian Folk Songs performed by Alan Mills (voice and guitar). “Vive la Canadienne” is the last song of this album. The lyrics by Alan Mills are different from the official lyrics of the “Vive la Candienne” national anthem. The music is a military march of the 22nd Royal Régiment, adapted by Captain Edwin Bélanger, who was Director of Music for the 22nd Royal Régiment (Government of Canada, 2021).

Vive la Canadienne,
Vole, mon coeur vole!
Vive la Canadienne,
Et ses jolis yeux doux,
Et ses jolis yeux doux, doux, doux, et ses jolis yeux doux. (bis)

Nous la menons aux noces,
Vole, mon coeur, vole!
Nous la menons aux noces,
Dans tous ses beaux atours,
Dans tous ses beaux atours, atours, atours, dans tous ses beaux atours. (bis)

Nous faisons bonne chère,
Vole, mon coeur, vole!
Nous faisons bonne chère,
Et nous avons bon goût!
Et nous avons bon goût, goût, gout; et nous avons bon gout! (bis)

On danse avec nos blondes,
Vole, mon coeur, vole!
On danse avec nos blondes,
Nous changeons tour à tour,
Nous changeons tour à tour, tour, tour; nous changeons tour à tour, (bis)

Ainsi le temps se passe,
Vole, mon coeur, vole!
Ainsi le temps se passe,
Il est vraiment bien doux!
Il est vraiment bien doux, doux, doux; il est vraiment bien doux! (bis)

Vive la Canadienne,
Vole, mon coeur vole!
Vive la Canadienne,
Et ses jolis yeux doux!

Source: Folkways Media

Suggested sources:

01/20/25

LibGuide for Francophone Songs in North America

Hello! I have just added a new section to the Music Research Guide dedicated to francophone songs in North America. A number of scores, recordings, articles, books, search terms, and other resources have been compiled here. These resources are not exhaustive, but should help support your research in this course.

You can access the guide here: https://guides.library.ubc.ca/c.php?g=724029&p=5370467 or navigate to it by accessing the Music Research Guide and selecting “Special topics: Francophone Song in North America”.

If you have questions or would like additional research support, please reach out to the Music Librarian at david.haskins@ubc.ca.

01/16/25

Suzie LeBlanc (1961–)

Introduction

Suzie LeBlanc is a soprano, a teacher, an actress, and a harpsichordist. She was born in Edmunston in 1961. She has an Acadian heritage (an ethnic group descended from the French who settled in North America) but grew up listening to and practicing classical music.

Early life and education

LeBlanc studied harpsichord, with singing as a second subject at CEGEP St-Laurent, Montreal. Later, she joined the women’s trio Musica Secreta on their tour of Western Canada. She moved to Europe to study voice a few years later and was eventually offered a singing part with The Consort Musicke. 

Career

LeBlanc specialized in baroque and classical repertoire. However, her career is also inextricably linked to her Acadian heritage. As a recording artist, she has contributed to numerous Acadian recordings. She has recorded many unpublished works, including Chants d’Acadie: Tout Passé, a collection of mainly Acadian songs. Her album La Mer Jolie, Chants d’Acadie celebrates the 400th anniversary of the arrival of the French settlers. 

As a performer, she has appeared in recitals with many leading early music ensembles and performers, performing pieces like L’Incoronazione di Poppea in L’Opera de Montreal and Grand Messe by Gilles Vigneault (a Quebec singer-songwriter) during Quebec City’s 400th anniversary year.

As a teacher, she has taught at the University of Montréal (2000-9), McGill University (2008-9), and the Conservatoire de musique de Montréal (2009). In 2005 she became the artistic director of Le Nouvel Opéra.

LeBlanc has been a great musician, she inherited her heritage and dedicated herself to Acadian music. 

 

Suggested Sources:

  • Ellis, Andrea , and Jennifer Gillis. “Suzie LeBlanc.” The Canadian Encyclopedia. Historica Canada. Article published March 10, 2013; Last Edited December 14, 2013.