Alexandre Da Costa presents: Stradivarius BaROCK with pianist John Martin
What would the music of the Baroque period have been like if Bach found himself with today’s Rock and Jazz?
Multi award-winning violinist Alexandre Da Costa, accompanied by pianist John Martin, breaks the boundaries in a daring showcase of the music of composers who lived in the times of Louis XIV, remixed
Alexandre and his Stradivarius of 1701 reboot Vivaldi in Rock, blending Bach with Boogie, and fusing Pachelbel’s Canon with pop. After revisiting the great Baroque masters, Alexandre rounds off his show with very personal versions of his favorite songs by Queen, Leonard Cohen, and maybe even Metallica… hold onto your seats, this will be a most amazing concert!
Featuring music from Da Costa’s album ‘Stradivarius BaROCK’, anyone who experienced Alexandre previously will book again very quickly. An extraordinary musician and performer, he has received one of Canada’s highest cultural distinctions the prestigious Virginia-Parker Prize, amongst many others.
This program features music from Da Costa’s album ‘Stradivarius BaROCK’, recorded with Canadian stars of classical, jazz and world music: singers Bruno Pelletier, Mario Pelchat, singer/songwriter La Bronze (Nadia Essadiqi), the Taurey Butler Jazz Trio and more.
“I was delighted: what a violinist, beauty of sound, fastest fingers I have heard yet, the good taste to play different styles and great humor. Chapeau!” – Leon Spierer (Berlin Philharmonic Concertmaster 1963-1993)
“With bow bouncing off the strings, pizzicati popping, and a steely, biting tone, da Costa dispatched the dance with such energy and fierce technique that he more than won the audience over.” – Limelight, 2017
“Solo star of the evening was French- Canadian violin virtuoso Alexandre Da Costa in three short works that are immensely tricky to bring off successfully… Da Costa shone, his fine bowing technique and impeccable feeling for style heard to most satisfying advantage. Da Costa was beyond reproach with bow biting strings to produce a sizzling, grainy tone that sounded entirely right. Much the same could be said of Vitali’s Chaconne. Insistent and deserved applause brought an encore…” – The West Australian, 2016