“I Hear a Young Minstrel Sing:
The Launch of the Cirque du Soleil Musique Record Label”
By: Wayne Leung – Ottawa, Ontario (Canada)
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For much of Cirque du Soleil’s history, the company has sought to publish and promote albums featuring music from their shows as an extension of their brand. The music of Cirque du Soleil’s shows forms an integral part of the company’s mystique. In recent years Cirque has begun to branch out, first by re-releasing many of its previous albums with additional “live” tracks, then with projects such as Tapis Rouge, a series of albums featuring remixes of Cirque du Soleil’s music.
This year, Cirque’s contract with record company BMG Canada expired and the company is officially launching its own record label, “Cirque du Soleil Musique.” The first ventures for the new label will be the re-release of soundtrack albums from many of their shows in a repackaged form branded with the new “Cirque du Soleil Musique” label. Later this year, a new Tapis Rouge remix Double CD is slated for release and, eventually, the company aims to scout out, develop and market emerging musical artists under the Cirque du Soleil Musique banner as well. This move reflects a new management style for Cirque du Soleil; as the company grows larger, there is a push to separate and individually manage divisions for Television and Film, “Derived products” (clothing, jewelry, accessories, books, art pieces, etc.), Hospitality (responsible for the partnership with Celebrity Cruises) and, of course, Music.
To officially launch their new record label and their new commemorative compilation CD “Le Best of Cirque du Soleil” the company hosted a series of CD launch parties in Toronto, Montreal and New York City. I was the fortunate recipient of an invitation to attend the Montreal party held at Tohu’s headquarters, the brand new Chapiteau des Arts on the evening of September 29th. The festivities were slated to begin at 5PM. While guests waited outside the doors of Tohu’s Chapiteau des Arts characters emerged and mixed with the crowd. First, two stilt-walkers emerged, then a man dressed in the iridescent red Russian Swing costume from Varekai, followed by two Old Birds from Alegría, a Baroque and an Urban Worm from Saltimbanco, an “O” Zebra, Océane and a Hoop Diver from Dralion. These costumed personalities would be present throughout the night to interact with the crowd.
When the doors opened the crowd was ushered into the main showroom at Tohu. The auditorium, recently vacated by les 7 doigts de la main after a month-long run, had been transformed into a swanky night-club. All of the theatre seats had been removed and the floor was dotted with high-rise tables where party-goers could stand and place their drinks. As guests entered, Target from Quidam could be spotted above the entrance showering them with red feathers. Cirque music played in the background (Varekai and the Tapis Rouge Solarium remixes featured prominently). Large video screens flanked both sides of the room showing a highly stylized montage of acts from various Cirque shows in a continuous loop. Servers wearing Cirque-style make-up made their way around the room serving wine and canapés. Guests were also treated to an open bar serving wine, beer and, later in the evening, sherry as well as some non-alcoholic beverages. Another bar served coffee to guests who preferred caffeine to alcohol. The main stage was set up for a concert; chairs with music stands could be spotted. A podium took up centre-stage.
I grabbed a glass of red wine and set out to mingle. Amidst the crowd of Cirque du Soleil insiders, media and invited guests. I spotted Violaine Corradi (composer for Varekai and Dralion) and, busily chatting on a cell phone before greeting members of his family, the man himself, Cirque du Soleil President Guy Laliberté. It was a surreal experience to be “hanging out” at a party with the Cirque du Soleil elite.
About an hour into the party a voice (identifiable as that of Cirque publicist Marie-Claude Ménard) came over the loudspeakers and announced the beginning of the official proceedings and the arrival of Cirque du Soleil Musique President Ian Tremblay to the stage. Lights from TV cameras around the hall lit up and a row of media photographers crowded the front of the stage. A series of speeches followed. Ian Tremblay gave the regular press spiel about the company’s creative drive and its will to branch out with new ventures. Guy Laliberté then took the podium and presented an award to Cirque composer René Dupéré in recognition of his collective soundtrack albums from Cirque du Soleil shows having sold two million units in Canada. Another award was then presented; “Le Best of Cirque du Soleil” has already achieved gold record status in Canada (50,000 units sold).
As a final treat for the party guests (and additional fodder for the press) Cirque presented a mini-concert highlighting the music featured on the new album in the form of a 20-minute medley. The band, including a 12-piece string section, took to the stage and struck up Réveil from Quidam. At the piece’s crescendo the curtains at the rear of the stage parted to reveal a choir singing the “Atmadja” chorus. Laur Fugère, Cirque vocal coach and perennial Cirque singer substitute, then sauntered up to the center-stage microphone for a stirring rendition of Nostalgie from “O”. It then transitioned to Pokinoí¯, performed beautifully with the choir. The medley continued and included Kumbalawé from Saltimbanco, Querer from Alegría, Ombra and Stella Errans from Dralion, Liama from La Nouba and, as the grand finale, Cirque du Soleil’s signature song, Alegría, performed as multi-coloured feathers rained down on the party guests.
While much of the press packed up and left after the “official” presentation, the party continued, drinks flowing and guests mingled. Copies of the new CD were distributed. René Dupéré signed autographs and chatted with guests.
Earlier in the evening René stated that he was excited to be back and working with Cirque du Soleil on the new production (KÀ) and that he chose to return because he believes the company is headed in the right direction artistically. Of the media and guests in attendance that night, I sensed that many shared his optimism and are anxiously awaiting what Cirque du Soleil Musique has to offer in the future.
References:
* “Le Cirque du Soleil rencontre Thievery Corporation” Stéphanie
Bérubé, La Presse, Sept. 30, 2004
* “Cirque du Soleil Starts Record Label” Norma Reveler, Reuters,
Sept. 23, 2004
* “Cirque du Soleil launches a new division” Cirque du Soleil
Press Release, Sept. 22, 2004
