Deadlines to apply

February 7, 2019. You will automatically be considered for a scholarship if you apply before that date and if all of the audition material has been received.

April 4, 2019. Without a scholarship, acceptances according to available places.

Successful applicants will have to pay 50% of the fees within 14 days after the reception of the acceptance letter in order to reserve their place.

The full balance must be paid before May 2, 2019. In case of cancellation, the first payment is non-refundable. The second payment can be reimbursed if the student notifies the Admission Coordinator by e-mail at admissions@orford.mu, at the latest one month (30 days) before the first day of the stay. A $50 administration fee will then be deducted from the amount.

If a medical problem beyond your control prevents you from taking part in the Orford Music Academy, your deposit may be used for the subsequent year when a medical certificate is provided. However, you will have to go through the full audition process and be accepted again. If a scholarship was granted to you, it is not transferable to the following year.


  • tuition fees;
  • room in double occupancy;
  • meals at the Orford Music cafeteria;
  • access to concerts at the Orford Music Festival, subject to availability of tickets;
  • access to the training room.

Multi-level Rates:

The rate for a one-week stay is $1 020.
The rate for a two-week stay is $970 per week.
For three weeks or more, the rate is $920 per week.

Voice and Piano Duet

Multi-level Rates:

The rate for a one-week stay is $1020.
The rate for a two-week stay is $970 per week.
For three weeks or more, the rate is $920 per week.


Baroque Music
How to Reach your Full Potential
How to Win an Audition
How to Stand Out as a Chamber Musician


If you add one week of master class, the rate will be $945.
For a stay of three weeks or more, the rate is $895 per week.


Piano Trio
Orford Winds
Contemporary Music


If you add one or more weeks of master classes:
The rate will be $920 per week.

Visual Arts


Exhibitions are open during events taking place at the Gilles-Lefebvre Concert Hall.


James Jack

Ink Art
Gilles-Lefebvre Concert Hall

World premiere: artist James Jack is coming to Canada and will exhibit his ink art at the Festival, where he will be Artist-in-Residence for the summer.

The vernissage will be held on Thursday, July 5, at 5:30 p.m. Space is limited, reservations required: 819 843-3981, ext. 232.


Hiromi Ono


Gilles-Lefebvre Concert Hall and Orford Music’s bistro

Artist Hiromi Ono will present the art of paper folding with an exhibition of Japanese origami. Her miniature works will be on display in the lobby of the concert hall, and photos taken by photographer François Lafrance, that reveal the intricate details, will be framed and hung in the bistro.


François Lafrance

The Agora, J.A.-DeSève Pavilion

Discover the work of local photographer François Lafrance, on display at the J.A.‑DeSève Pavilion (near the reception area) throughout the summer. Serene, introspective, timeless: come and admire landscapes where time seems to stand still.


by Anick Valiquette, owner, Galerie d’art Courtemanche


I met James in 1997 on the North Shore of Boston when we were neighbors. At the time, little did I know that a story of artist and gallerist was in the making. Our paths have run in different directions, but we have maintained a rich connection in life. Fast forward twenty years and here I am now, trying to put together a portrait.

Through my research, I have found parts of the story of James Jack. The following is not complete, but it is an impression of the artist as it floats in my mind’s eye. I hope it will serve as a relevant introduction of James to the Orford Music audience.

What drew me in initially is his great sense of balance in his first solo exhibition in New York City, titled Ink and Essence. In this show, his exploration of space through the subtle use of simple forms created timeless contemporary pieces. James Jack transcends the conventions of Eastern tradition and Western modernity. Using the medium of monochromatic ink painting, his work is aesthetically defined by subtlety and restraint – poetry with a brush.

Jack is steeped in the Japanese language, Eastern philosophy and meditation. He spent years learning shodo, the art of Japanese calligraphy, and copied the etymology of all the Chinese characters used in the modern Japanese language. This formed the basis for his brushwork, following the Eastern painting tradition of the well-rounded artist as also accomplished calligrapher.

“The brush is my vehicle for the ink’s linguistic expression”, he states. Like a musician’s relationship with his instrument in the simplest most intimate form, Jack creates an experience, nothing more, nothing less; a reduction to ink and essence, the very essence of life. Try as we might, this beauty cannot be explained; it can only be experienced.

However, his work is not limited to ink paintings. In 2005, the Portland Art Center presented his first site-specific solo exhibition titled Natura Naturans, an ephemeral installation of natural pigments spread on the floor of the gallery. Borrowing natural stone pigments from a cliff where he had just completed an artist residency on the Pacific coast, Jack drew a circle based purely on elements from nature, precisely arranging them with nothing more than a mortar, pestle and tea strainer. The artist now continues to explore humans’ relationship with the environment and its universal awe.

Jack is a traveler who searches with all of his being and intuition to put forth a vocabulary that brings together the real with the spiritual. Gathering materials from specific sites, Jack explores social memories of place through intimate contact with the people who live there in the simplest way.  His method, using ink he creates from the husk of butternuts and walnuts (he gathers the nut, separates the husks, grinds, boils and filters them) is a meditative, labor intensive process. Representation is not the goal. The painting is more than the subject. The ink, color and brushwork become the image, not the mountain or ocean or whatever he is painting. Poetry that is connected to the landscape and people.

Since 2005, Jack has been collecting soil from various places as part of his interest in exploring the materiality of landscapes, the symbolic meanings of earth elements and the potential of organic materials as painting material. This process culminated in his Philosophies of Dirt series featuring natural pigments from 46 sites where the artist has touched the earth. This work has continued in ephemeral installations and works on paper. Most recently in 2017, with Natura Naturata: Light of Singapore, he continued this exploration for a site-specific commissioned work composed of more than twenty soil samples from locations in Western Singapore.

In the Transpacific Crossing series Jack began in 2015, he explores the pathway of one container ship as it crosses the Pacific Ocean between Japan and North America. These paintings show the view of the Pacific through the bathymetric data as well as the memory of water when applied to the paper recalled by the ink. Again using handmade ink, he re-imagines the journey via these underwater seascapes, diving deep into the memories of the water, paying special attention to the white space around and inside of the work. Each painting represents a day on the ship through which we can imagine the slow journey between East and West via the Ocean.

Jack is known for his socially engaged art practice in the Asia-Pacific region and  his projects for the Honolulu Museum of Art, the Setouchi International Art Festival, the Busan Biennale Sea Art Festival,  the Echigo-Tsumari Triennale and the Fukuoka Prefectural Museum of Art. His works on paper have been featured in exhibitions held at galleries in Tokyo, New York City, Yokohama, Portland, Kyoto and Singapore. His writings have been featured in Art Asia PacificThe Japan Times, Modern Art Asia, Tokyo Art Beat and art catalogs published by Blum & Poe Gallery, LASALLE College of the Arts, Satoshi Koyama Gallery and The Contemporary Museum in Hawai‘i. In his current works, the importance of conversation is crucial to his artistic process of remembering and recovering stories.

One may ask WHY to James, why art?
“When we have a heightened sensibility to our own waste, the daily practice of living contains the potential to change and be changed by the world” (introduction to Play with nature, Played by Nature, a group exhibition on creative practices in circumstances of social and ecological trauma, Tokyo, 2013). Art offers possibilities that feed the soul. It is in the resulting union between nature and art that we are given a new perspective, stories of resilience and repurpose that give us clues on how to live the social and environmental challenges of today.