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Review

Rubberneck, no. 28, February 1, 1998

The 15 pieces on La diva et le vinyle combine clarinet and record player in an affectionate excavation of the recorded works of Maria Callas. Lepage’s clarinet executes slow, melancholic curlicues against the locked grooves, speeded-up and slowed-down worn records, and general rough-house vinyl fetishism of Tétreault It’s billed as a collision between new and old, composed and improvised, opera and sound art, but the distinctions collapse into one another: it’s the sounds recorded decades ago, put through Tétreault’s sonic shredder, that grab the attenton. Callas’ voice was once described as midway between clarinet and oboe, but I found Lepage’s undeniably graceful contributions went nowhere special hovering and undulating in the air between my ears. Tétreault’s poignant collages, on the other hand combining Callas wiLh coarse swatches of sound proved far more thought-provoking listening.

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