16 janvier 2012
VIDEO: PRÉSENTATION PAR MAESTRO LACOMBE: Fabiola chante Weill et Gershwin
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5 Février 2012
JACQUES LACOMBE DIRIGE SIBELIUS & Prokofiev
Orchestre symphonique de Montréal
Montréal, QC Canada
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18 Février 2012 au 24 Février 2012
Un Ballo in Maschera
Deutsche Oper
Berlin, Allemagne
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17 Mars 2012
À La Vie
Orchestre symphonique de Trois-Rivières
Trois-Rivières, QC Canada
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New Jersey Symphony Orchestra, Concert janvier 2012
... the orchestra melded violent rumblings with the squealing, impish lightness of fantastical creatures in a devious dance.. En savoir plus...
Ronni Reich, NJ Star Ledger, janvier 2012
New Jersey Symphony Orchestra, Concert janvier 2012
Jacques Lacombe, a French Canadian conductor now in his second season as music director of the New Jersey Symphony Orchestra, has proved himself a shrewd programmer...
...Mr. Lacombe’s agile, transparent and winningly energized conception made this one of the most exhilarating accounts of “Firebird” I’ve ever heard. En savoir plus...
Steve Smith, NY Times, janvier 2012
... Lacombe elicited playing of dynamic subtlety, a hallmark of his work with the orchestra; even though the climactic forces required by Stravinsky are huge, with multiple harps and extra percussion, the score also demands -- and received -- playing of chamber music intimacy and grace. En savoir plus...
Bradley Bambarger, NJ Star Ledger, janvier 2012
Opera Company of Philadelphia, Roméo et Juliette, février 2011
Also worth singling out were the powerful chorus scenes, particularly the Act III confrontation between the Montagues and the Capulets, and the restraint of the sparkling orchestra conducted by Jacques Lacombe that conveyed Gounod’s evocative music without overpowering the soloists. En savoir plus...
Gale Martin, Oportoonity WordPress, février 2011
Conductor Jacques Lacombe displayed a good feel for the piece’s style and kept the pace moving nicely, especially in the final scene, where other performances have bogged down. En savoir plus...
Steve Cohen, Broad Street Review, février 2011
Jacques Lacombe drew solid, stylistically responsible playing from the pit. En savoir plus...
David Patrick Stearns, Philadelphia Inquirer, février 2011
Conductor Jacques Lacombe shows a nice feel for the French style, bringing out the sweetness in Gounod's lush score without letting it turn syrupy. En savoir plus...
Mike Silverman, Associated Press, février 2011
If the production confuses, the musical values are very strong, Maestro Jacques Lacombe steering orchestra and chorus and Stephen Costello and Ailyn Perez as the star- crossed lovers, make this production finer than worthwhile. En savoir plus...
Critic At Large, Temple Radio - WRTI. org, février 2011
New Jersey Symphony Orchestra, Concert janvier 2011
The first piece ends with a flourish. From here it’s not too difficult to believe Conductor Jacques Lacombe when he says man and the music he makes has been forever influenced and inspired by water. After simple consideration it’s all so clear. Intentional or not, the comparisons are obvious. The way music develops slow, languishing textures like a still pond or violent crescendos like waves crashing on a beach, it’s a perfect fit. The bows of two-dozen violinists glide up and down over their instrument strings, all of them uniform, like ripples over water. It's something more than interpretation. En savoir plus...
Edward Van Embden, Red Bank Shrewsbury Patch, janvier 2011
Continuing with Handel’s iconic “Water Music,” Lacombe explained that he would be changing the configuration of the orchestra to give us more of the experience King George I may have had with his royal guests on one barge, while the musicians played on another. At different points, the barges would be close, and the musicians would play the more subtle movements, and when farther apart, would play the louder ones. The Maestro set the French Horns on audience left and the trumpet and piccolo trumpet to the right. In an unwitting battle of the sexes—women on French horns, men on trumpets—we had a delightful call and response, then the orchestra jumping into the mix–pure delight! En savoir plus...
Sherri Rase, Q onStage, janvier 2011
New Jersey Symphony Orchestra, Concert 7 janvier 2011
The young Québecois conductor Jacques Lacombe, who took over as music director last fall, led with a confident, swinging beat, showing a particularly keen ear in Fauré's "Pelléas et Mélisande" Suite. En savoir plus...
Alex Ross, The New Yorker, janvier 2011
“He [Tan Dun] sounds like a conductor,” Lacombe says. “A conductor must be able to hear with his eyes when he reads a score, and see with his ears when he’s on the podium. The ‘Water Concerto’ is scored more or less conventionally for a classical orchestra, with winds, brass, tympani, harp, percussion, and strings.” Still, special techniques are called for: winds and brasses must produce sliding pitches; mouthpieces of wind instruments are used by themselves as an instrument; trumpeters make percussion sounds by beating their mouthpieces. En savoir plus...
Elaine Strauss, US1, janvier 2011
Orchestre Symphonique de Trois-Rivières, Concert 5 décembre 2010
La salle J.-Antonio-Thompson aurait pu être un théâtre européen du XVIIIe siècle hier après-midi, alors que l'Orchestre symphonique de Trois-Rivières, l'ensemble Vocalys et quatre solistes invités ont livré un Messie de Haendel tout en précision et en subtilité, dans une atmosphère de recueillement discret et respectueux. Un délice. En savoir plus...
Marie-Josée Montminy, Le Nouvelliste, décembre 2010
New Jersey Symphony Orchestra, Concert 27 novembre 2010
Conventional wisdom has it that contemporary music in the concert hall is, on the one hand, essential to maintaining an evolving art and, on the other, a tough pill to swallow for conservative audiences So it was justified and refreshing when Jacques Lacombe addressed the issue Saturday night at New Jersey Performing Arts Center. En savoir plus...
Ronni Reich, NJ Star Ledger, novembre 2010
Making ice sing. En savoir plus...
Sherri Rase, Q onStage, novembre 2010
New Jersey Symphony Orchestra, Concert 5 novembre, 2010
It was also clear from the outset of the concert that although Mr. Lacombe’s relationship with the orchestra is only a few weeks old, his rapport with the players gives the impression of having known them for a very long time... ...The New Jersey Symphony Orchestra has always held a strong position in the state’s arts scene, and has committed to reaching into new corners of repertory and audiences under Mr. Lacombe’s leadership. As he musically announced his governance of the ensemble from the podium on Friday night, Mr. Lacombe made it clear that this is a relationship which will continue long into the future. En savoir plus...
Nancy Plum, Town Topics, novembre 2010
Under music director Jacques Lacombe, the orchestra partnered her (Yuja Wang) with striking vigor and finesse. That’s not to say that they couldn’t be just as enjoyable in a more subdued piece. In Gershwin’s "Lullaby," a lilting opener, the NJSO showed off an unforced, mellow charm. But the increasingly apparent and impressive ability of the new conductor and the orchestra to pull off a kind of controlled chaos, where ferocity and clarity combine so as to avoid the extremes of sounding clinical or cacophonous, was on full display. En savoir plus...
Ronni Reich, NJ Star Ledger, novembre 2010
New Jersey Symphony Orchestra, Jacques Lacombe Talks Leadership with Rutgers Business Students
"Without touching an instrument or playing a note, conductor Jacques Lacombe can achieve the musical sound he wants from the 60 people who are actually doing the work of making music. He does so using the same techniques of corporate leaders: inspiring, cajoling, and directing the New Jersey Symphony Orchestra musicians to perform to his desired end. During an innovative program at the New Jersey Performing Arts Center, the students in the Rutgers Business School’s Nonprofit Leadership Certificate Program observed Lacombe rehearse [and] saw him put into action the critical management and leadership skills they had been studying all week. En savoir plus...
Peggy McGlone, NJ Star Ledger, novembre 2010
New Jersey Symphony Orchestra, Up Close With Music Director Jacques Lacombe
The new director of the New Jersey Symphony Orchestra is a natural frontman ... Being able to roam around the orchestra as they prepared for a performance of Beethoven’s Ninth Symphony, I saw the energy and silent communication that goes into conducting — what Lacombe referred to as 'the untold'. En savoir plus...avec Video...
Nyier Abdou, NJ Star Ledger, octobre 2010
New Jersey Symphony Orchestra, Opening Night Gala
Ripples went out from Lacombe's baton and through the galvanized orchestra, with dynamic changes audible and experienced live that even the greatest recordings cannot duplicate...
...This gala evening, and the brilliant debut of Maestro Lacombe at the helm, forecast a terrific energy for New Jersey Symphony Orchestra. This season will be a triumph. En savoir plus...
Sherri Rase, Q Onstage, septembre 2010
Yet at every chance, Lacombe shined as the NJSO’s new leader. He projected authority without ego, getting the best out of the musicians whose brilliant, unified sound and charged performances created a constant sense of anticipation, even in familiar repertory. The music sounded fresh and sharp, with detailed layers of sound clearly and cleanly coming into focus... En savoir plus...
Ronni Reich, NJ Star Ledger, septembre 2010
The orchestra had a chance to show its mettle in Stravinsky’s “Firebird” suite, which concluded the program. The musicians played vividly for their new maestro, who led a vibrant and detailed performance. En savoir plus...
Vivien Schweitzer, NY Times, septembre 2010
The “Firebird” supplied the best chance for observing the new conductor in action with his orchestra, and both made positive impressions. Lacombe brought out the mystery, primitivism and beauty of the music. The orchestra sounded assured too, with some fine solo playing, not least in the Princesses’ Khorovod, which was nicely shaped. And Lacombe took pains to prepare the emergence of the incomparable horn theme at the end so that it made an impact. A new and dynamic chapter in the life of the New Jersey Symphony appears to be underway.
George Loomis, Musical America, septembre 2010
National Youth Orchestra of Canada
In terms of sheer verve, Maestro Lacombe’s interpretation of Don Juan surpasses every other live performance I've ever heard. The youth orchestra examined all the orchestral elements of Richard Strauss’ celebrated oeuvre. Its familiar opening percussive stream had me wanting to crash my imaginary cymbals. En savoir plus...
John Jane, Review Vancouver, août 2010
National Youth Orchestra : brillant retour de Jacques Lacombe
C'est une autre bonne année pour le National Youth Orchestra of Canada, si j'en juge par son concert d'hier soir à la Basilique Notre-Dame. En savoir plus...
Claude Gingras, La Presse, juillet 2010
Youth and talent - what a winning combination! The National Youth Orchestra of Canada brought tremendous vitality to the opening concert of its 2010 season which began here in London. It is a joy to witness the exuberance and the commitment of highly motivated young people who are all no doubt capable of making careers in music if they have the desire and the opportunity. The entire performance produced a stunning jolt of excitement with the combination of excellent playing and thrilling repertoire. En savoir plus...
Renée Silberman, The Beat, juillet 2010
New Jersey Symphony Orchestra
From Mozart and Beethoven to a rock inspiration with local ties, when the New Jersey Symphony Orchestra offered a concert called "The Best of ... Composers at the Keyboard," the title fit. The final "Best Of . . ." series concert of the season -- and the last we'll hear of the NJSO until late June -- the collection of short pieces interspersed with commentary felt especially right as a prelude to the relaxed summer classical season. En savoir plus...
Ronni Reich, The Star Ledger, mai 2010
The New Jersey Symphony Orchestra offered a glimpse of its future on Thursday afternoon at the New Jersey Performing Arts Center here, when Jacques Lacombe, a fresh-faced conductor from the Trois-Rivières Symphony Orchestra in Quebec, led the ensemble for the first time since being chosen to be its next music director. Based on this initial encounter, a program featuring standard works by Brahms and Dvorak, the prognosis is decidedly positive. En savoir plus...
Steve Smith, NY Times, avril 2010
But this past spring, when I attended a Newark performance under Mr. Lacombe's baton, what I heard bespoke a vital, artistically significant musical organization. It was a memorable concert, comprising a new piece, "Sur les Rives du Saint-Maurice," by Mr. Lacombe's fellow Quebecois, the late Jacques Hétu; Brahms's D-Major Violin Concerto, played with real poetry by soloist Jennifer Koh; and a nuanced account of Dvořák's "New World" Symphony. Mr. Lacombe could not have chosen better works to show off his players' mettle. En savoir plus...
Barrymore Laurence Scherer, Wall Street Journal, septembre 2010
Oberst Chabert, Deutsche Oper Berlin
Am Pult des Orchesters der Deutschen Oper Berlin gestaltete Jacques Lacombe die Partitur differenziert, souverän und mit spürbarer Hingabe. Die konzentrierte Spannung, mit der das Publikum die Aufführung verfolgt hatte, entlud sich am Ende in begeistertem Schlussapplaus; neben allen Mitwirkenden galt dieser nicht zuletzt einem an diesem Abend wiederentdeckten Komponisten.
U. Ehrensberger, Das Opernglas, mars 2010
Eindrucksvolle Impressionen, die trefflich mit der dramatischen Musik korrespondieren, vorzüglich von Jacques Lacombe mit dem hoch motivierten Orchester der Deutschen Oper einstudiert. Rundum eine gelungene Produktion also, die eine Vielzahl von Vorstellungen verdient hätte. Kaum zu glauben, dass gerade noch eine einzige geplant ist...
Kirsten Liese, Giessener Allgemeine, mars 2010
Opera Arias avec Roberto Alagna, Orchestre Philharmonique de Nice
Der frankokanadische Dirigent Jacques Lacombe leitete das Orchestre Philharmonique de Nice mit besonderer Empfindsamkeit für die Partitur Gounods, war den Sängern ein aufmerksamer Begleiter und scheute auch for Sentimentalität nicht zurück.
W. Kutzschbach, Das Opernglas, mars 2010
Tosca, Royal Opera House, Covent Garden
It was noticeable that the smaller roles were uniformly well sung, while the conducting of Jacques Lacombe drew some of the most beautiful playing from the ROH orchestra I've heard all season......Lacombe created an exquisitely balanced performance from the orchestra whilst never allowing them to descend into melodramatic clichés. In all, it was an exciting way to finish the season.
Dominic McHugh, Musical Criticism, juillet 2009
Arguably most impressive of all was the conducting of Jacques Lacombe. He kept things moving, allowing the music to generate momentum without ever giving the impression of rushing. His ear for orchestration is astonishing. Right from the expertly balanced opening chords, this facet of his direction was in evidence. It was as if Lacombe was out to discredit the Puccinian nay-sayers who insist this music is all splodge. He has a fine sense of the large-scale as well as the moment-to-moment beauty. Moments of subtlety were many and varied, complementing the grand effects of the Te Deum, the stabbing of Scarpia and Cavaradossi’s execution.
Colin Clarke, Musical Criticism, juillet 2009
The French-Canadian conductor Jacques Lacombe, making his Royal Opera debut, is supportive in pacing his music, and conducts with flair and an eye for detail throughout.
Hilary Finch, The Times, juillet 2009
The season has hardly had a dull moment, the highlight perhaps being the momentous Barbiere but this Tosca has to run that a close second, with its central trio of singers as well balanced as anyone could possibly desire, excellent orchestral sound under Jacques Lacombe and a staging which respects the opera’s traditions yet does not become mired in them…
…Orchestrally we were in surprisingly commanding hands, given that the conductor was making his house debut conducting opera — the lower strings especially had been coaxed into chamber music-like intimacy and the brass sparkled rather than blared.
Melanie Eskenazi, Opera Today, juillet 2009
The conductor, Jacques Lacombe, was making his Royal Opera debut, and it was an auspicious one. His tempi were broad with a grand romantic sweep which made for a traditional Tosca in the best sense of the word. The orchestral timbre was bright and full, and if he was holding the players back to allow the voices to come across in certain places, he did so with the kind of deft artistry that retained the full colour and impact of the score, making one unaware it was happening.
John Woods, Musical Criticism, juillet 2009
Jacques Lacombe conducted with firm hand, accompanied the singers very considerately and yet didn’t give in to the temptation to muffle the orchestra so the voices took precedence. Hence, he found the right balance between playing Puccini’s orchestral part in all its luscious greatness and letting the singers be heard – not an easy one.
Enrique Sacau, Mundo Clasico, juillet 2009
Jacques Lacombe’s conducting was fluid and sensitive, rightly relishing the splendour and darkness of Puccini’s orchestration without drowning out the singers, and the smaller roles were all persuasively taken.
Ditlev Rindom, Mundo Clasico, juillet 2009
Ariadne auf Naxos, Deutsche Oper Berlin
Jacques Lacombe, à la tête d'un orchestre admirablement disposé, épouse le propos de la mis en scène avec un élan enthousiasmant, ciselant la couleur et la matière sonore avec un brin d'emphase pour donner tout leur poids dramatique aux instruments. Au final, le spectateur est conquis par ce pot-pourri de styles n'entrant jamais en conflit, et par l'élégance souveraine d'une direction sachant garder la mesure.
Éric Pousaz, Opéra Magazine, avril 2009
The major reason for this success was Jacques Lacombe, who already proved his qualities as a sensitive conductor here before. With Strauss now he brought out all colours of this precious score, transparent and always vivid, but also with high-spirited outbursts when needed. The huge applause for Lacombe was not surprising with such an impressive musical performance.
Käthe Wegler-Heinze, Orpheus, mars 2009
This new triumph of the current Richard Strauss festival is due to a teamwork of highest skill, lead by stage director Robert Carsen and conductor Jacques Lacombe with his passionate orchestra.
Klaus Geitel, Berliner Morgenpost, février 2009
Conductor Jacques Lacombe points out all the subtleties of this finest of all Strauss operas: the smooth mysticism of Ariadne’s monologues as well as the friendly humanity of the comedian’s songs. Sharp wind passages are realized with the same quality as the orchestral tension of the final scene where Strauss evokes the oceanic flow of his tone poems.
Jan Brachmann, Frankfurter Allgemeine, février 2009
Jacques Lacombe conducted the orchestra with a nearly narcotic sense for Strauss’ music. Satisfaction and enthusiasm at the Deutsche Oper, how wonderful!
Joachim Lange, Wiener Zeitung, février 2009
This is, without any doubt, a complete artistic success, coherent, suggestive and felicitous in every way. This was especially due to Jacques Lacombe, who animated the orchestra to a light, transparent and colourful, dazzling sound and flowing tempo.
Wolfgang Fuhrmann, Berliner Zeitung, février 2009
The orchestra conducted by Jacques Lacombe played the dignified music with greatest pleasure.
Irene Constantin, Neues Deutschland, février 2009
„Under Jacques Lacombe’s baton the orchestra of the Deutsche Oper demonstrates the luminous colours it actually has for Strauss.”
Jörg Königsdorf, Der Tagesspiegel, février 2009
The orchestra conducted by Jacques Lacombe performed a sensuous and opulent Strauss with many subtle nuances.
Ingrid Wanja, Orpheus, février 2009
Carmina Burana, New Jersey Symphony
Too many middling performances can turn a frequent concertgoer off a classical warhorse, leaving one to wonder why all the time and talent are accorded pieces that had their day long ago. But go to enough concerts with open ears, and there might be one that changes your mind.Friday's performance of Carl Orff's 1930s dramatic cantata "Carmina Burana" at NJPAC in Newark was such a revelatory event.
Thanks to an inspired team -- the New Jersey Symphony Orchestra, Montclair State University Chorale, Moscow Conservatory Chorus and an excellent trio of vocal soloists -- this neo-primitive celebration of spring fever that has so often seemed kitschy was entertaining, even touching.
Guest conductor Jacques Lacombe, a 45-year-old French Canadian, galvanized the 266 performers for a communal experience. "Carmina Burana" can seem longer than its usual hour, but Lacombe's dynamic subtlety and zest made it fly by. He is a musician's conductor, the rapport he achieved in rehearsal coming through on stage; blessed with a rare memory, he worked without a score, maximizing his eye contact with the orchestra and chorus, the intimacy aurally apparent.
Bradley Bambarger, The Star Ledger, 05 novembre 2008
Der Traumgörge, Deutsche Oper
The large orchestra, conducted with conviction by Jacques Lacombe, superbly recreated Zemlinsky's broad spectrum of orchestral color.
Jeffrey A. Leipsic, Opera News, 31 mai 2007
Einen erfreulichen Beitrag leistete das von Jacques Lacombe dirigierte Orchester der Deutschen Oper. Zemlinskys originelle Harmonik, die wogende Rhythmik, den Überfluss an Klangfarben wusste es so umzusetzen, dass man durch den Abend getragen wurde... Es wirbelten die Blätter, geheimnisvoll blau schimmerte das Licht und Lacombe ließ dazu das Orchester in Wellen anbranden. Erst unerhört zart, allmählich erst entstehend wurde Zemlinskys Musik größer und größer. Lacombe materialisierte diesen Opern-Traum, ließ seine Kräfte spürbar werden, bis er einen schließlich völlig umfasste...
Benjamin Herzong, KlassikInfo, 27 mai 2007
die musikalische Interpretation des kanadischen Dirigenten Jacques Lacombe, der den schwelgerischen Farben- und Gefühlsreichtum dieser reifen Fin-de-Siècle-Pracht unsentimental wie leuchtend erlebbar macht - und so nachhaltig beeindruckend wie die ganze famose Aufführung.
R. Becker, Neues Deutschland und Berliner Morgenpost, 31 mai 2007
Orchestre Symphonique de Montréal, Concert 18 janvier 2006
Une interprétation parcourue par une vraie vision, celle d'un lyrisme énergique.
Christophe Huss, Le Devoir, 19 janvier 2006
Die Fledermaus, Metropolitan Opera
…Quebec-born conductor Jacques Lacombe elicits a lithe, crisp and refreshingly unmannered performance of Strauss's beguiling and sophisticated score.
Anthony Tommasini, New York Times, 21 décembre 2005
Les Huguenots, Opéra Royal de Wallonie
La direction du chef canadien Jacques Lacombe est parfaite, gommant tous effets pour parvenir à une efficacité maximale, devoir du vrai chef d’opéra.
Bruno Peeters, Crescendo, 19 juin 2005
Carmen, Opéra-Théâtre de Avignon
Dans la fosse, on retrouve après son excellente Sapho de Jules Massenet le chef canadien Jacques Lacombe qui donne une leçon de direction lyrique toujours attentive au plateau de chanteurs et permettant de redécouvrir toutes les richesses trop souvent ignorées par ses confrères de la partition de Bizet.
Sergio Alexandre, Point de vue, avril 2005
Placés sous la conduite aussi énergique que vigilante, mais toujours superbement nuancée de Jacques Lacombe, l’OLRAP comme les chœurs se sont une nouvelle fois hissés au niveau d’une des plus fidèles interprétations de la musique de Bizet.
Claude Taelman, La Provence, 14 avril 2005
Orchestre Symphonique de Montréal, Concert 16 janvier 2005
… une très remarquable interprétation de l’Oiseau de feu de Stravinsky par Jacques Lacombe… Ce qui magnifie le Stravinsky de Lacombe… c’est cette implacable logique et simplicité du flux, cette apparente spontanéité.
Christophe Huss, Le Devoir, 17 janvier 2005
Orchestre Symphonique de Montréal, Concert 16 janvier 2005
… une réalisation absolument phénoménal de l’Oiseau de feu.
Claude Gingras, La Presse, 17 janvier 2005
Werther, Metropolitan Opera
…under his baton, every page of the score seemed alive. Nothing was corny or frivolous. This conductor seemed rather to elevate Massenet (no offense to the many fans of the divine Jules). Mr. Lacombe’s sense of pace was excellent, and his authority over his forces almost total. Tender moments were exceptionally tender, and tumultuous moments were exceptionally so—reflecting the storms in the minds of the principals. Orchestral players in the pit applauded Mr. Lacombe heartily when he appeared onstage for his bow, an uncommon sight.
Jay Nordlinger, New York Sun, 05 janvier 2005
Orchestre Symphonique de Montréal, Concert 13 mai 2004
… Jacques Lacombe a dirigé une formidable version des Planètes de Holst.
Edmonton Symphony Orchestra ; 12 mars 2004
Lacombe’s direction throughout the evening appeared disciplined and he was completely engaged in making the orchestra produce not only a good ensemble sound but also a creative interpretive expression. He conveyed a strong impression he saw the music-making process as completely collegial.
Bill Rankin, Edmonton Journal, 14 mars 2004
Ariadne auf Naxos, Opéra de Montréal
La direction de Jacques Lacombe, vive, élégiaque, incandescente, magnifie les splendeurs orchestrales de cette riche partition. Sa lecture de l'oeuvre fait ressortir des détails d'une beauté inouïe, révèle les jeux d'ombre et de lumière dont la partition fourmille et on ne peut qu'admirer l'engagement, exceptionnel des musiciens. C'est un des grands chefs d'opéra qu'il nous est aujourd'hui donné d'entendre et avec qui, en vérité, la musique de Strauss subit une véritable transfiguration. Le miracle de la soirée, s'il en est un, c'est dans l'orchestre qu'il réside.
Réal Boucher, Forum-Opéra, Hiver 2004
Orchestre Symphonique de Toronto, Février 2004
Lacombe had the orchestra fully engaged and the result was some spirited and sweeping playing
Robert Crew, The Star - Toronto, février 2004
Sapho, Opéra-Théâtre de Avignon
Son style de direction très sobre, mais toujours en parfaite intelligence avec le sens des messages contenus dans une partition richement inspirée, a donc suscité l’adhésion sans réserve de l’ensemble de ses interprètes.
Claude Taelman, La Provence, 02 décembre 2003
Orchestre Symphonique de Montréal, Concert 5 juillet 2003
À la tête d’un OSM en forme, Jacques Lacombe a partagé tout le bonheur qu’il éprouve à diriger cette musique. Mieux encore, sa joie et son plaisir … s’avérèrent communicatifs… Lacombe pourfend la facilité et dose si bien la moindre petite chose, sait tellement bien trouver la pulsation idoine de chaque danse que, malgré les (nombreuses) reprises, on s’étonne de ne jamais d’ennuyer.
François Tousignant, Le Devoir, 7 juillet 2003
Orchestre Symphonique de Montréal, Concert 27 juin 2003
L’OSM joue pour lui comme il le fait pour les plus grandes baguettes et lui donne les plus purs raffinements dans le pianissimo et, tout à l’opposé, les fortissimo les plus explosifs.
Claude Gingras, La Presse, 28 juin 2003
Orchestre Symphonique de Montréal, Concert 29 avril 2003
On a rarement entendu l’OSM chanter et vibrer avec une telle intensité … la présence agissante de Lacombe m’a rappelé quelle grande symphonie le répertoire compte là et quel grand orchestre nous avons ici !
Claude Gingras, La Presse, 30 avril 2003
Les Grands Ballets Canadiens ; Les Noces de Stravinsky
L’orchestre des GBCM sous la direction magistrale de Jacques Lacombe et le chœur du Studio de musique ancienne de Montréal contribuent à créer un climat poétique et tragique.
Victor Ignatov, Danse Light, janvier - février 2003
Orchestre Symphonique de Montréal, Concert 21 janvier 2003
As principal guest conductor, he is doing a splendid job, eliciting sounds both firm and fine from the players, who obviously trust him.
Arthur Kaptainis, The Gazette, 23 janvier 2003
Carmen, Opera Company of Philadelphia
He provides buoyant rhythms and summons impressive playing from the orchestra and strong singing from the chorus.
Robert Baxter, Courrier-Post - Philadelphie, 13 novembre 2002
Orchestre Symphonique de Montréal, Concert 1er octobre 2002
There is no question of Lacombe’s excellence as a podium technician.
Arthur Kaptainis, The Gazette, 3 octobre 2002
Orchestre Symphonique de Montréal, Concert 29 septembre 2002
…il imprime à cette musique une vie et une couleur absolument irrésistible.
Claude Gingras, La Presse, 30 septembre 2002
Orchestre Symphonique de Montréal, Concert 6 juillet 2002
Jacques Lacombe … a laissé, par sa stimulante présence et sa direction extrêmement agissante, la plus forte impression de la soirée.Répondant à sa gestuelle extrêmement vivante, sensible et détaillée et à sa baguette d’une incroyable précision rythmique, l’OSM a fait de la familière ouverture de Guillaume Tell un véritable poème symphonique… Même miracle dans l’ouverture de La Forza del destino, où Lacombe rafraîchit les timbres, fait ressortir des appogiatures habituellement effleurées, dessine une ligne dramatique insoupçonnée.
Claude Gingras, La Presse, 7 juillet 2002
Hérodiade, Opéra Royal de Wallonie
Sous la direction du jeune chef canadien Jacques Lacombe, l’orchestre de l’ORW joue cependant avec un degré de perfection rarement atteint par cette phalange, et avec une incontestable recherche de couleur…
Jean Lucas, Luxemburger Wort, 15 mai 2002
La Traviata, Opéra de Montréal, 9 février 2002
Conductor Jacques Lacombe furnished typically incisive leadership in the pit. One could hardly have asked for more chilling intimations of imminent death from the orchestra in the final scene.