Media Coverage

Interviews, reviews and various media coverage of Maxime Goulet’s work as a composer.

Classical Music Interviews

Interview with Maxime Goulet about his composition United Anthems. Global News, April 24th, 2017

Interview with Maxime Goulet about his composition Symphonic Chocolates. Global News, November 14th, 2014.

Interview with Maxime Goulet about his composition Symphonic Chocolates. Canal Alpha (Switzerland), November 5th, 2019

Interview with Maxime Goulet about his composition Symphonic Chocolates. France 3, March 28th, 2017

Interview with Maxime Goulet about his concerto A Bassoon Circus. OSL, March 3rd, 2017

Interview with Maxime Goulet and stage director Mylène Lapierre about his opera Bungalopolis. SMCQ, Feb. 16th, 2011

Interview with Maxime Goulet about song cycle Micro Météo. Météo Média, July 6, 2020

Interview with Maxime Goulet about his song cycle Micro Météo. La Sentinelle, May 19, 2020

Classical Music Reviews

“Les capsules Micro Météo, mises en ligne par le compositeur Maxime Goulet, allient la délicatesse de la poésie et la force du chant opératique du ténor Jean-Michel Richer, sur le flot du piano de Christian Girard, en 30 minuscules secondes. Goulet a mis en musique des lignes de poésie qu’il a écrites, sortes de haïkus météorologiques détaillant le quotidien, pour en faire des clips punchés et efficaces. Le tout défile sur des illustrations signées Emilie Goulet.”
– Le Devoir, Caroline Monpetit, 23 mai 2020

“Maxime Goulet a composé des pièces pour orchestres à déguster avec du chocolat, une symphonie pour 60 musiciens accompagnant des jeux vidéos. L’artiste a même déjà écrit de la musique sur des textes humoristiques parus dans le magazine Croc. Pendant la crise, il continue de jouer des multiples cordes de son arc. Depuis le début du confinement, Maxime Goulet, jamais en reste d’idées créatives, compose [Micro météo], de son quartier de Saint-Henri, des micro-pièces de musique de 30 secondes, pour ténor et piano, sur des poèmes, presque des haïkus, météorologiques. Immobilisé par le confinement, Maxime Goulet a saisi l’occasion pour replonger dans ses poèmes météorologiques, et de composer des musiques pour les accompagner. Jusqu’à ce que la crise de la COVID-19, et la numérisation tous azimuts qui en découle, lui donne le support parfait pour s’y remettre. Conscient que les salles de concert n’allaient pas rouvrir de sitôt, il décide de profiter du contexte pour se remettre à la création. Il entreprend de mettre en musique ces petits bulletins de météo, regards quotidiens sur le temps qu’il fait, tout à fait adaptés à l’immobilisme ambiant. La formule s’arrime aussi parfaitement aux réseaux sociaux, parce qu’ils ne demandent qu’un bref temps d’attention. Le ténor Jean-Michel Richer et le pianiste Christian Girard ont respectivement enregistré la pièce chez eux, et c’est Maxime Goulet qui les mixe chez lui. Pour éviter de présenter les pièces sur des images de qualité douteuse d’artistes confinés chez eux, Maxime Goulet a eu l’idée de demander à sa sœur Emilie, qui est illustratrice, de fournir des dessins pour chacune des pièces. Porté par son projet, Maxime Goulet s’est d’ailleurs remis à écrire des poèmes, lui qui avait été accaparé par la composition musicale au cours des dernières décennies.”
– Le Devoir, Caroline Monpetit, 21 mai 2020

“Avec son projet intitulé Micro météo, le compositeur de musique de films et de jeux vidéos Maxime Goulet allie poésie et météo dans des capsules à la fois musicales, littéraires et artistiques. Sa série de courts poèmes de 30 secondes écrits, mis en musique par lui-même a été réalisée entièrement en confinement, et met en valeur la poésie du quotidien tout en nous permettant de voir la beauté à travers notre fenêtre.”
– Sors-tu, Jean-François Roy, 19 mai, 2020

“Le compositeur montréalais Maxime Goulet reconnu pour plusieurs œuvres pour opéra, orchestre et même jeux vidéo travaille sur un projet en cette période de confinement. Il compose [Micro météo,] de courts poèmes ainsi qu’une mélodie pour les accompagner. Le ténor Jean-Michel Richer et le pianiste Christian Girard interprètent la musique. Le tout est sous le thème de la météo. Ça réchauffe le cœur!”
– Le Journal de Montréal, Léa Papineau Robichaud, 19 mai, 2020

“[Micro météo is] a series is a piece that will last long beyond the lockdown.”
– Mountain Lake PBS, Gen’s Delights, 19 mai, 2020

“[Micro météo,] des petits poèmes opératiques qui font preuve d’originalité. […] Ça permet à des jeunes de s’initier à l’art opératique et de voir que c’est un art qui s’adapte à tout.”
– Radio-Canada, Tout un matin, Eugénie Lépine-Blondeau, 14 mai 2020

The Flight of the Hummingbird, an extraordinary opera for young audience composed by Maxime Goulet, on a libretto by Haida artist Michael Nicoll Yahgulanaas and Barry Gilson. […] An instant success. […] A call to action positioned in the context of climate change.”
– Broadway World, May 13, 2020

“On the surface, The Flight of the Hummingbird is a story of how the smallest bird in the world unites his fellow forest animals to help save their home from a wildfire. But audiences soon realize that the moral of the story is a call to action and how any individual, regardless of how small, can be a changemaker to inspire the whole community to act. […] It is a metaphor on climate change and self-empowerment that we find resonates with both children and adults. […] The creation of the opera not only creates a forum for underrepresented Canadian voices but also an opportunity for emerging artists.”
– Times Colonist, Pedro Arrais, Mar. 29, 2020

“Everyone’s absolute favorite is Checkmate!, a musical recreation of the famous 1986 chess match between Russian grandmaster Garry Kasparov (represented by solo pianist Lara Downes) and the IBM computer known as “Deep Blue” (represented by the orchestra). Kasparov lost, but not before a pitched battle. The intricacy of this composition staggers my mind.”
Houston Chronicle, Chris Gray, Mar. 23, 2020

“Maxime Goulet is a talented composer who is establishing himself throughout Canada as an inventive and boundary stretching modern composer.”
CBC, The Bridge, Nantali Indongo, Mar. 14, 2020

“Le compositeur québécois Maxime Goulet a de quoi être fier : son opéra-jeunesse, The Flight of the Hummingbird, est présentement en tournée en Colombie-Britannique avec plus de 100 représentations dans les écoles et centres culturels de la province. Basé sur un conte de l’artiste haïda Michael Nicoll Yahgulanaas, l’opéra, d’une durée de 45 minutes porte un message d’espoir et de persévérance alors qu’un oiseau-mouche, personnage principal de l’histoire, tente d’éteindre un feu de forêt, goutte par goutte. Il s’agit d’une parabole à saveur environnementale, dont le message veut que chaque personne, même la plus petite, peut faire sa part d’efforts pour sauver la nature, et que chaque geste compte, si petit soit-il. Le livret de l’opéra, destiné aux 5 à 15 ans, a été co-écrit par Barry Gilson. Quant au conte de Nicoll Yahgulanaas, il est lui-même inspiré d’une histoire du peuple Quechuan d’Amérique du Sud. La composition a été écrite pour quatre voix, piano et violoncelle. Comme il arrive que deux représentations soient données le même jour, la petite production doit être en mesure de plier bagage facilement et loge dans un camion! Le spectacle suscite déjà de l’intérêt en dehors du Canada.”
– Ludwing Van Montreal, Caroline Rodgers, Mar. 3, 2020

“Le colibri, symbole de courage et de sagesse, dans l’opéra The Flight of the Hummingbird. Le Vancouver Opera et le Pacific Opera ont demandé à l’artiste haïda Michael Yahgulanaas d’écrire un opéra pour un jeune public à partir de son livre Flight of the Hummingbird dont il avait aussi fait les illustrations. Cette fable raconte l’histoire du brave colibri qui fait ce qu’il peut pour sauver une forêt des flammes destructrices. Le compositeur de l’opéra est le Montréalais Maxime Goulet avec qui Yolaine Mottet s’est entretenue.”
– Radio Canada, Yolaine Mottet, Mar. 2, 2020

“Fermez les yeux. Savourez un chocolat au caramel. La douceur et le moelleux se mêlent, le sucre envahit votre bouche. Vos papilles se délectent. Vous vous sentez bien. Vous êtes détendu. Qu’entendez-vous? Quelle musique? Et si on essaie avec un chocolat à la menthe? Entendez-vous autre chose? Sentez-vous le frais de la menthe? Entendez-vous une musique froide, une musique de glace? C’est à ce jeu de pistes que nous a conviés l’ESN (Ensemble symphonique Neuchâtel), dimanche au théâtre du Passage dans le cadre de «Chocolatissimo». Le compositeur Maxime Goulet a composé «Chocolats symphoniques», pièce inspirée de la saveur de quatre chocolats différents que le public est invité à déguster lors de l’interprétation de l’œuvre. Le papier grésille, résonne entre les rangs du théâtre; le chocolat fond lentement sur la langue. Mmmh! La musique vient commenter la sensation gustative. La composition de Maxime Goulet est très suggestive. On entend vibrer le vent froid du nord dans les cordes de l’orchestre, alors que la fraîcheur mentholée explose en bouche. Le dynamisme des rythmes brésiliens vient se superposer au goût légèrement amer du café. Une expérience multisensorielle très suggestive.”
ARCInfo, Nov.5, 2019

“The programme began with Goulet’s «Chocolats symphoniques».  Everyone had been given a box of four hand-made chocolates (from Urban Village Chocolates) – one chocolate to eat for each movement.  This was a truly novel way to enjoy the music and everyone thoroughly enjoyed it.  This symphony had never before been played in the UK, so this was a unique experience.”
Hinchley Wood, Nov. 3, 2019

“[In Fishing Story] a clarinet player — fully dressed in fishing gear — sat at the front of the stage in a makeshift boat and recreated a fishing story. Orchestra members played with their breath as well as their assigned instruments, making whooshing sounds by breathing in a certain way. The clarinet was the fishing rod and a fish was caught.”
Kamloop This Week, May 16, 2018

“Le concert innovait par l’introduction de pièces interactives. L’une d’entre elles, Beach Ball Games for Orchestra, nécessitait la participation du public avec un énorme ballon de plage. Les spectateurs devaient déplacer le ballon pour atteindre des objectifs affichés à l’écran géant au cours de trois mini-jeux. Une expérience musicale très intéressante sinon quelque peu laborieuse.”
– Gamer Québec, Michaël Bertiaux, Nov. 23, 2018

Beach Ball Games for Orchestra, une création de Maxime Goulet, concepteur et coordonnateur artistique du spectacle, oblige les spectateurs du parterre à coopérer pour déplacer un immense ballon qui permet de déplacer un icône sur l’écran. L’orchestre souligne en direct les gains et les pertes du public, qui ne manquent pas de susciter des réactions.”
– Le Soleil, Josianne Desloges, Nov. 22, 2018

“En seconde partie les spectateurs ont pris plaisir à participer à la pièce Beach Ball Games for Orchestra de Maxime Goulet qui permet à la foule de jouer en direct sur la musique avec un immense ballon de 8 pieds de diamètre et les gens ont vite compris les jeux et comment faire réagir le ballon du bon côté pour que ce dernier attrape les étoiles ou défie les crânes pour gagner la partie chaque fois.”
– Média des 2 Rives, Nov. 21, 2018

“L’imagination débordante d’un compositeur, au delà des jeux vidéo
Maxime Goulet, compositeur, est L’Artiste de la semaine Ludwig van Montréal.

S’il est connu avant tout pour sa musique de jeu vidéo, notre artiste de la semaine, Maxime Goulet, a bien d’autres tours dans son sac. Alors que l’Orchestre symphonique de Québec s’apprête à présenter la Symphonie du jeu vidéo, dont il est le concepteur et le coordonnateur artistique, nous profitons de l’occasion pour faire découvrir aux lecteurs de Ludwig van Montréal d’autres aspects moins connus d’un artiste qui déborde d’imagination, toujours en quête d’idées qui sortent des sentiers battus.

Poli, assez réservé et parfait gentleman, Maxime Goulet n’est pas le genre de compositeur qui pique des crises pour qu’on s’occupe de lui. Il fait plutôt sa place dans le monde musical à coup de concepts astucieux qui séduisent les orchestres et leur public.[…] Dans sa musique, il cherche à rejoindre un vaste public.

Beach Ball Games for Orchestra, une pièce interactive avec le public qui obtient un succès fou…la notion de « fun » dans la salle de concert prend tout un autre sens ici… […]

Le River Oak Chamber Orchestra, situé à Houston, a commandé à Maxime Goulet un Concerto pour piano pas comme les autres dont la création a eu lieu en septembre. […] Dans son concerto [Échec et mat!], chaque pièce du jeu d’échec est associée à un thème musical: roi, reine, fou, pion, tour… Les Blancs, qui sont Deep Blue, sont représentés par l’orchestre et les Noirs, qui sont Garry Kasparov, sont représentés par le piano. Sur un écran, on peut suivre la partie, que l’on voit évoluer avec la musique. C’est comme une partie d’échecs entre le piano et l’orchestre. […]

Parmi les succès de Maxime, il y a certes les Chocolats symphoniques, suite orchestrale qui a été jouée plus de 70 fois ici et à l’étranger. Elle sera d’ailleurs jouée de nouveau en janvier prochain par l’Orchestre symphonique de Falcon, au Vénézuela, et en février, par le Kitchener-Waterloo Symphony. Le concept est simple: associer la musique à un arôme de chocolat. Le public, évidemment, déguste les chocolats en écoutant la pièce. « L’idée, c’est de faire vivre aux gens une expérience multisensorielle, dit-il. Un autre aspect agréable, c’est qu’à chaque fois, on fait un partenariat avec un chocolatier local qui apporte sa touche personnelle. Quand j’ai la chance d’être sur place, je me fais plaisir en y goûtant! Mes projets mettent souvent les gens de bonne humeur. » À l’heure où les organismes musicaux sont à la recherche de nouvelles formules pour attirer le public, l’offre a de quoi séduire en combinant musique et dégustation gourmande. Les quatre mouvements sont donc associés au Caramel, Chocolat noir, Menthe et Café. Il fallait y penser! […]

Parmi les projets importants à venir, il y a la création de Flight of the Hummingbird, un opéra pour jeune public commandé par le Vancouver Opera et le Pacific Opera Victoria. Basé sur un livre de l’artiste visuel très reconnu de la Première nation Haida, Michael Nicholl Yahgulanaas. Cette fable écologique a connu un immense succès et a été traduite en plusieurs langues. […]”
– Ludwig van Montréal, Caroline Rodgers, Nov. 19, 2018

“I loved A Puppet Parade because I was able to imagine the puppets and their story while the orchestra and its conductor were playing. The movement that I liked the most is “the wolf” because I find it fast and exciting. Did you know that Maxime Goulet composed this piece when he was still a student at the University? He’s really good, isn’t he?”
– Éléna Dostie (10 years old), Oct. 10, 2018

“[In Checkmate!] The famous game’s 73 moves translate quite smoothly from chessboard to sheet music. The actions of the players often mirror each other so that the white knight follows suit after its black counterpart, for example, creating an idiomatic form similar to that of a concerto. […] I think that creating an immersive experience like this is brilliant. It’s certainly the way of the future.”
Houston Chronicle, Elizabeth Knox, Sept. 19, 2018

“Cool. A chess game for piano and orchestra based on my first game against Deep Blue [Checkmate!] “
Garry Kasparov, Twitter, Sept. 21, 2018

“A lyrical melody with sonorous notes by Canadian composer Maxime Goulet envelops the crowd at a downtown Toronto venue, as guests savour creamy chocolate caramels. As the symphonic music turns passionate, the deliciously bitter finish of a dark chocolate morsel lingers. This isn’t an elegant summer wedding: Symphonic Chocolates is playing to an academic crowd at the International Multisensory Research Forum, where Oxford prof and author Charles Spence is a keynote speaker. This serving of complementary sound and flavour notes is just the kind of mind-bending experiment Spence celebrates in his book Gastrophysics: The New Science of Eating—a kind of Freakonomics for foodies.”
– Bay Street Bull, June 18, 2018

“It works! I had a bite of the coffee-infused chocolate and that’s exactly the music I heard – the pairing [of Symphonic Chocolates] is perfect.”
– Médium Large, Catherine Perrin, Mar. 2018

“The exquisite compositions by well-known young Quebec composer Maxime Goulet brought a freshness to the concert and allowed us to explore a whole new connection to music. […] His symphonic works named after different chocolates matched perfectly with their namesake treats. With Caramel Chocolate, it was decadence, languid and rich. For Dark Chocolate, the intense bitterness was translated into a rhythmic musicality that hinted at seduction. In Mint Chocolate, a fresh breeze could be heard rather distinctly at the end of the movement. And finally, it was Coffee-infused Chocolate, with its Brazilian flavour expressed through the samba rhythm. These movements were accompanied by chocolates, and heightened their flavours as well as their textures. It was a memorable moment of discovery. What’s more, I must admit that having a Quebec artist enthrall us with these uncommon notions won me over completely.”
– EstriePlus, Sarah-Eve Desruisseaux, Mar. 28, 2018

“The public really seemed to be enjoying themselves Saturday night at the Maurice-O’Bready Hall for the Sherbrooke Symphony Orchestra’s concert, whose title was “Classics and Chocolate!”. […] The name of the movements [of Symphonic Chocolates] was enough to make you hungry: Caramel chocolate, dark chocolate, mint chocolate and coffee-infused chocolate … Fortunately, the Sherbrooke Symphony Orchestra had the good idea of selling at the door small boxes of four chocolates corresponding to the names of each movements. We could feel the caramel flow in our mouth while listening to the sound of the strings, feel the bitterness of dark chocolate with the staccatos of wind instruments or the exotic touches of coffee recalled by the string pizzicatos, ukulele style.”
– La Tribune, Camille Dauphinais-Pelletier, Mar. 24, 2018

“[Jean-Willy Kunz] began with an extended solo fanfare, Maxime Goulet’s Citius, altius, fortius! This reviewer has heard nothing like that theatrical, rousing organ sound since his mom took him to Radio City Music Hall as a kid.”
All About Jazz, Victor L. Schermer, Feb. 18, 2018

“[Symphonic Chocolates is] a curious connection between sound and taste. […] When I listened to it, I found myself craving chocolate!”
– The Findings Report, Jan. 23, 2018

“A brilliant ouverture composed for the 2010 winter Olympics Games in Vancouver. […] Citius, Altius, Fortius! (Faster, Higher, Stronger!) certainly lives up to its name.”
Pipedreams, Michael Barone, Jan. 15, 2018

“[A Bassoon Circus is] an amusing work by Maxime Goulet, created by Michel Bettez and the Laval Symphony Orchestra, in which the soloist must not take himself too seriously…”
– Ludwig van Montréal, Frédéric Cardin, Nov. 20th, 2017

“Composer Maxime Goulet had a delicious idea – to write a musical suite about chocolate, seguing the sounds through signatures that correspond with various types of chocolate. Then he had an even better idea – to let audiences eat those chocolates while listening to the music. Symphonic Chocolates is the Canadian composer’s resulting work, an all-encompassing, multisensory experience that has challenged the idea of a traditional classical music concerts – and maybe even how to eat chocolate. Featuring varying tempos and temperaments, the piece takes audience members on an engaging journey through a lyrical melody resembling the creamy richness of drizzling caramel to an energetic allegro inspired by Brazil, the world’s largest coffee producer, and its upbeat samba rhythms. In the middle movements, a dissonance in the music reflects the bitterness of dark chocolate, inciting visions of a seductive tango. The musicians then create an auditory sensation of the icy coldness of mint chocolate hitting the tongue – powerful enough to cause a chill to run up one’s spine. The sound, which is high-pitched and metallic, is produced when violinists use effects like a tremolo, a rapid back and forth motion of the bow.”
– The Houston Chron, Lawrence Elizabeth Knox, Nov. 16, 2017

“[Beach Ball Games for Orchestra] Salle Wilfrid-Pelletier has rarely been so joyful and boisterous.”
– Le Journal de Montréal, Christophe Rodriguez, Sept. 30, 2017

“[Beach Ball Games for OrchestraAudience members at the orchestra-level actually participated and, in a friendly, light-hearted atmosphere, all played together with a giant inflatable ball.
– Le Devoir, Christophe Huss, Sept. 30, 2017

“[Beach Ball Games for Orcestra] Powerful and unexpected moments […] A crowd game was also specially invented for the concert: the whole orchestra-level audience began to push around a giant inflatable ball to reach specific targets and avoid obstacles. Everyone had a great laugh!
– Sors-tu.ca, Ambrune Martin, Sept. 30, 2017

“The first concert, Last Night of the Festival, Eh!, began in good taste, as the audience dipped into chocolates paired specifically with Maxime Goulet’s Symphonic Chocolates: Orchestral Sweets in Four Flavours. For a piece which was born out of the composer’s trip to a chocolate shop, the degustation did well to heighten the moods clearly articulated by Goulet and delivered “true to life” by the National Academy Orchestra of Canada.”
Ludwig van Toronto, Jennifer Liu, Aug. 5, 2017

“After the concert, you could easily feel the pride of the children. An extraordinary experience! [Symphonic Factory]”
L’école et les arts, June 14, 2017

“[United Anthem is] a welcoming olive branch of music. […] Goulet’s piece embraces Canada in the context of the wider world. […] It’s fascinating to listen for how Goulet strings anthems together, from Peru to the Philippines. […] It’s amazing to see how much musical wealth can be packed into just two and a half minutes.”
WQXR Classical New York, James Bennett II, June 5, 2017

“Moussa, Bilodeau, Goulet, Champagne, and a few others […] In fact, our contemporary music, far from chapels and ayatollahs, is experiencing its quiet revolution.”
Le Devoir, Christophe Huss, June 3, 2017

“[United Anthem is] an amazing two-minute and a half mash-up of 35 national.”
Classic FM, Lizzie Davis, May 9, 2017

“[United Anthem is] a brilliant idea! […] The anthems connects so well. […] A beautiful feat.”
Global News, Morning News, Apr. 24, 2017

“C’est un concept original et enchanteur proposé par l’Orchestre de Normandie, un Concert au Chocolat qui sillonne la Normandie. Une excellente idée qui combine le plaisir des sens, l’ouïe et le goût y étant sollicités. Ce vendredi, l’accueil était des plus agréables pour le public  à la Renaissance, chacun recevait  gracieusement un ballotin de quatre chocolats avant de s’installer pour apprécier le concert qui allait suivre. […] En guise de mise en bouche dans ce menu, on ne peut plus convaincant, nous savourons une superbe interprétation de la très belle œuvre de Maxime Goulet “Chocolats symphoniques” […] Ces œuvres sont magnifiquement servies par l’ensemble de l’orchestre et superbement dirigées par Jean-Pierre Haeck et Aziyadé Breugelmans qui nous fait l’honneur d’une prestation. […] Une expérience unique pour ce concert dégustation grâce à la virtuosité des musiciens et au savoir-faire d’une jeune femme artisan-chocolatier: Natalie Rouxel.”
RegArt, Apr. 19, 2017

“The work [A Bassoon Circus], fanciful and accessible, is very well written, filled with comic effects, and everyone has fun, including musicians.”
La Presse+, Caroline Rodgers, March 2017

“With its catchy melodies and skillful orchestration, Citius, Altius, Fortius! more than held its own alongside the American symphonic repertoire.”
Steve Bergeron, La Tribune, Feb. 19, 2017

Not only is this approach unique to a classical concert, but the composer himself is unique to the genre [Symphonic Chocolates].
Lancaster Online, Sept. 3, 2015

Gift ideas for 2014: our top 5. For the music fans in your life: the “Symphonic Chocolates” package includes a soundtrack in which each movement corresponds to a fine chocolate.
Voir (Newspaper), Dec. 4, 2014

A very cool idea and a fun experience! [Symphonic Chocolates]
Global News, Nov. 14, 2014

A new experience on a whole other level! [Symphonic Chocolates]
CBC, Daybreak Montreal, Nov. 2014

“An amusing work [Présentation concertante] intended to serve as soundtrack to present the musicians.”
Caroline Rodgers, La Presse, Oct. 24, 2014

“Goulet’s music is very listenable and narrative driven with this piece [Fishing Story] a story about the young boy who is befriended by Hemingway’s ‘Old Man and the Sea’ and what happens to him next.”
Ontario Arts Review, Aug. 12, 2014

“As for the chocolates at the top of the menu, they accompanied the performance of a suite by Maxime Goulet [Symphonic Chocolates] in which the four movements are meant to evoke as many flavours: caramel, dark, mint, and coffee. On stage, the young composer described each piece, sampling a chocolate and inviting those in the audience who had purchased the exquisite little box of four chocolates to do the same. For the chocolates, we score 10 out of 10. For the music: let’s say that in a languorous or South-American style, it succeeds.
La Presse, May 7, 2014

“Instead of raising a glass, the audience will be able to enjoy four little chocolates during the performance of this suite in four short movements [Symphonic Chocolates] that, we are told, each evoke a different flavour of chocolate: caramel, dark, mint, and coffee.”
La Presse, May 6, 2014

A chocolate tasting at the symphony: Maxime Goulet’s Symphonic Chocolates is a delicious sensory experience.”
CBC, InTune, Feb. 2014

“The most original part of the concert was the premiere of Maxime Goulet’s composition [Fishing Story]. […] Goulet has once again demonstrated that he had no fear of the melody, or musical narrative. As icing on the cake, clarinetist Kornel Wolak was actor in a cleverly scripted piece.”
Christophe Huss, Journal Le Devoir, Feb. 26, 2014

An original idea supported by a clever music, immediately pleasant and very cinematographic [Symphonic Chocolates].
Christophe Huss, Le Devoir, Feb. 14, 2014

“Composer Maxime Goulet joined forces with Geneviève Grandbois to create Symphonic Chocolates, four orchestral movements to be listened to while enjoying an assortment of chocolates! The idea, original to say the least, is backed-up by skilful, immediately pleasant, very cinematographic music in the tradition of light classical music.”
Le Devoir, Feb. 14, 2014

“If you have no desire to go out and you are both music enthusiast and foodie, then composer Maxime Goulet’s packaged CD and chocolate duo could meet all your Valentine’s Day needs. In the comfort of your own home, why not give yourself the Symphonic Chocolates experience, that is to say listen to an orchestral suite in four movements while enjoying a box of Geneviève Grandbois chocolates created specially to complement the symphony.”
Voir (Newspaper), Feb. 6, 2014

“Around Valentine’s Day, we often tend to associate chocolate with a heart-shaped box of inexpensive treats purchased on sale at the grocery store. Happily, there are initiatives that succeed in restoring the noble pedigree of the sweetest of poisons: Symphonic Chocolates.”
Mat.tv, Feb. 6,  2014

“An off-the-wall idea that makes classical music more festive. […] Symphonic Chocolates is pure happiness.”
Patrick Masbourian, Radio-Canada, Jan. 27, 2014

“A wild idea that makes classical music more festive. Symphonic Chocolates exudes happiness.”
Radio-Canada, PM, Jan. 27, 2014

“It’s the mildly insane gamble taken up by chocolatier Geneviève Grandbois and composer Maxime Goulet when they combined their talents to create four musical movements matched with four chocolates specially designed for this audio-gastronomical experience [Symphonic Chocolates]. (…) Worth discovering!”
Voir (Newspaper), Jan. 21, 2014

“The audience enthusiastically participated in both eating and listening and thoroughly enjoyed both, especially the dark chocolate habanera [Symphonic Chocolates]. We were sure we would be hearing many more works by this talented young composer in the years to come.”
Ontario Arts Review, Aug. 3, 2012

Symphonic Chocolates should be among the regular repertoire of all orchestras. Maxime Goulet combines appealing textures, rich orchestral colours and and genuine invention in this work which unusually adds the sense of taste to that of sound. It has proved a huge success with musicians and audience.” 
Boris Brott, Aug. 2012

What a Day has that element of genius – simplicity, modernity a sense of humour AND immediate connection with an audience! It was a joy to be part of its creation process.”
Boris Brott, May 2011

“It took great audacity to adapt this work as a contemporary cabaret-opera. The challenge was taken up brilliantly! […] [Bungalopolis is] an excellent way to introduce contemporary music and opera to the most reluctant geeks of the world!”
– Les Langues salles, Feb. 22, 2011

Bungalopolis truly veers off the beaten path. […] Daring, risk-taking, audacious, zany, new, almost experimental could all describe the show. […] The staging and the music managed a near-perfect arranged marriage.”
– Le Quotidien, Roger Blackburn, Feb. 24, 2011

“Mixing comic strips and contemporary music? What an excellent idea! We warmly recommend this unique incursion into the zany universe of comic strip author Jean-Paul Eid. The creators of Bungalopolis have managed to capture, quite humorously, the cartoonist’s spirit of absurdity.”
– Journal Métro Montréal, Feb. 17, 2011

“[Bungalopolis] really veers off the beaten path, that of opera, of music, of theatre, from which it does, however, retain certain conventions that launch us into the zany universe of comic strips. […] Nothing is to be taken seriously; we must catch the references (subtle or not) and let ourselves be carried away by this joyful mélange of absurdity, of ridicule, of hilarity.”
– Spécial du jour, Feb. 3, 2011

Video Game Music Interviews

Interview with Maxime Goulet and Dina Gilbert about the Video Game Symphony with the Quebec Symphony Orchestra. ICI Radio-Canada, Nov. 21, 2018

Interview with Maxime Goulet and Stéphanie Harvey about the Video Game Symphony with the Quebec Symphony Orchestra. ICI Radio-Canada, Nov. 1, 2018

Interview with Maxime Goulet and Stéphanie Harvey about the Video Game Symphony with the Quebec Symphony Orchestra. Le Soleil, Nov. 21, 2018

Interview with Maxime Goulet about the Video Game Symphony concert with the Orchestre symphonique de Québec. ICI Radio-Canada, March 27th, 2018

 Interview with Maxime Goulet and conductor Dina Gilbert about the Montreal Video Game Symphony concert, for the 375th Anniversary of the City of Montreal. Radio-Canada, September 29th, 2017

Interview with Maxime Goulet about the Montreal Video Game Symphony concert for the 375th Anniversary of the City of Montreal. Global News, September 27th, 2017

Interview with Maxime Goulet and conductor Dina Gilbert about the Montreal Video Game Symphony concert, for the 375th Anniversary of the City of Montreal. TVA, September 28th, 2017

Maxime Goulet presents his Montreal Video Game Symphony concert with conductor Dina Gilbert for the 375th Anniversary of the City of Montreal

Interview with Maxime Goulet about his music for the video game Warhammer 40,000: Eternal Crusade. Global News, November 13th, 2015

Maxime Goulet’s presentation of his live interactive music performance of the video game Dungeon Hunter 2, at the Montreal International Game Summit, on November 2010.

Livestream with Maxime Goulet about his music for the video game Warhammer 40,000: Eternal Crusade. March 17th, 2017

Livestream #73 with Maxime Goulet about his music for the video game Warhammer 40,000: Eternal Crusade. July 29th, 2016

Livestream #33 with Maxime Goulet about his music for the video game Warhammer 40,000: Eternal Crusade. Sept. 18th, 2015

Video Game Music Reviews

“A mix of classic orchestral and world-music instrumentation that successfully adds emotional resonance [to the game Ancestors: The Humankind Odyssey].”
– Gameinformer, Sept. 2019

“[Ancestors: The Humankind Odyssey has] a nice soundtrack that will play throughout your journey.”
– Game Tyrant, Sept. 2019

“You’ll want to enjoy [Ancestors: The Humankind Odyssey‘s] soundtrack […] a sometimes dulcet but definitively jungle-themed music.”
– Dualshockers, Sept. 2019

“The music [to the game Ancestors: The Humankind Odyssey] does a good job of conveying the mood of the environment as well as adapting to whatever condition you may be in.”
– Worth Playing, Sept. 2019

“The music [to the game Ancestors: The Humankind Odyssey] is quite good as well with low-key orchestral tracks accompanying more peaceful moments and tribal drums kicking off during encounters with hostile predators.”
– New Game Network, Sept. 2019

“The music is pretty good, leading to a polished overall presentation [Brothers in Arms 3: Sons of War].”
God is A Geek, Dec. 22, 2014

“A music that brings out the best of every moment [Brothers in Arms 3: Sons of War].”
Kick My Geek, Dec. 18, 2014

“Excellent cinematic music”
“From the relentless action that drives this game forward to the triumphant, cinematic music that accompanies it, Brothers in Arms 2: Global Front is an impressively executed gaming experience”

Slide to Play, Jan. 2014

“The musical score [Dungeon Hunter 2] is strong with an orchestral style.”
– Touchgen, Jan. 12, 2014

“The music in the game [Brothers in Arms 2: Global Front] is fantastic, as are the sound effects… working together so well at times that you could swear you are watching Saving Private Ryan.”
Touch Gen, Jan. 12, 2014

Dungeon Hunter 4 is one of the, if not the, best looking and sounding games in the iTunes store. This extends beyond the movies, too. In-game graphics are colorful and varied, while the music and even the voice acting can be a pleasure to listen to. […] Sound rating: 4.5 stars”
148 Apps, Apr. 11, 2013

“The excellent graphics, dramatic music and high-quality voice acting provide the potential for a hugely immersive experience that rivals computer and console games [Dungeon Hunter 4].”
Inside Social Games, Apr. 10 2013

“As mind blowing as the graphics are, the soundtracks used in this game is no exception. The Amazing Spider-Man packs quite a bit of audio content that just ensures that players gains the best experience possible for their mobile device. Even without the help of your earbuds, the speakers on your device will still give you one of the best tunes from your favorite Spider-Man game and make your action-packed experience even better!”
Apprina, Jul. 2012

“There are amazing tunes and voice actors in this app game that will just immerse you into the world of Spider-Man. The music is definitely fitting and each sound effect is carefully selected to give you the best experience possible.”
GameTeep, Jul. 11, 2012

“The audio is great with good music and bustling city sounds [The Amazing Spider-Man].”
Unleash The Fanboy, June 29, 2012

“The music is powerful and effective [Dungeon Hunter 3].”
Game Zebo, Dec. 27, 2011

“Sound effects and music are great. Everything just blends together [Dungeon Hunter 3].”
App-Score, Dec. 2011

“The dark ambient music sets the games tone perfectly [Dungeon Hunter: Alliance].”
Movemodo, Oct. 2011

“The background music is suitably fantastical and dramatic [Dungeon Hunter: Alliance].”
App Modo, Oct. 2011

“The soundtrack is great [Dungeon Hunter: Alliance]!”
Touch My Apps, Oct. 7, 2011

“The game music and sounds are fantastic [Order and Chaos]. […] The music is as epic as you can get on iOS.”
App Critic, May 2011

“The music is technically a high quality [Order and Chaos].”
Digitally Downloaded, May 14, 2011

“The music is a particular standout [BackStab], […] it supports the look and feel with both emotion and atmosphere, giving the gaming a close to filmic quality.”
Touch Gen, Apr. 2011

“Music that all make the experience feel much higher-budget than its actual price would suggest [BackStab].”
Calm Down Tom, Apr. 7, 2011

“The composers who wrote the music in this game are VERY talented. Everything sounds is great, from the sword sounds to the menu song [BackStab].”
Pocket Full of Apps, June 30, 2011

“The sound design has an extensive library ensuring that no sound effect or music track becomes repetitious, and the music sets the mood for every setting and battle effectively. […] Overall the soundtrack [Dungeon Hunter 2] is memorable and appropriately epic.”
Game Dynamo, Dec. 9, 2010

“5 stars for Sound. […] The visual/audio experience of Siberian Strike is fairly impressive all around. […] The sound track is very good, and brings a very classic war movie feel to the game.”
Games Network, Apr. 2009

“Excellent soundtrack [Siberian Strike] — great bombastic tunes for the post-war setting.”
IGN Entertainment, Apr. 2009

“With its neat 3D graphics and smart audio, Castle Frenzy is a great example of a simple, fun and funny castle defence game”
Pocket Gamer, Nov. 30, 2009

“Much like the visuals, the audio presentation in the game [Ghost Mansion Party] is actually well done. There are plenty of spooky musical tracks and haunted sound effects to keep things interesting.”
“The various musical tracks […] is more than adequate for a game of this nature.”
Nintendo Life, Oct. 28, 2009

Film Music Interviews

Interview with Maxime Goulet about his film music concert at the Rendez-vous Québécois du Cinéma. March 7, 2013

Film Music Reviews

“The music [Hidalgo] is emotional and expansive, redolent of western wide open spaces and grand vistas. It demonstrates the range of this talented young composer.”
Ontario Arts Review, Aug. 8, 2013

“[Running is] melodic, approachable and fun.”
Ontario Arts Review, Aug. 8, 2013

“The film [Hidalgo] is a Western, so the broad melody and prominent strings and horns are conventions familiar to anyone who has listened to film music. It is, however, exactly what the scene required. […] I think Maxime Goulet is a major talent. He should have a long and successful career writing music for films or TV.”
Composer’s Notebook, Aug. 8, 2013

“The Running music changes constantly and is often motoric, sometimes employing gestures and conventions which have been used in music for animation for decades. This is a serious piece, however, in the sense that it is extremely detailed and worked out with a clear understanding of developments in new music. It’s a very convincing score which would bear listening to again.”
Composer’s Notebook, Aug. 8, 2013

“The good mood was there with 21, a particularly successful collaboration between Yann Ben Alluch and Maxime Goulet, the rhythm and the punches certainly playing an essential role.”
Clavier bien tempéré, Feb. 26, 2013

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