Cellist and cultural entrepreneur Caroline Milot has been active on the Quebec music scene for more than twenty years. Creative and community-minded, she has successfully led numerous artistic projects that showcase artists, non-profit organizations, and the communities they serve. As the founder of Échos du patrimoine, she develops cultural initiatives that celebrate and bring visibility to Laval’s historic buildings through living artistic experiences that foster connections between citizens, artists, and the places that shape their collective story.

 

Rooted in both music and videography, her artistic practice inspires creations that engage in dialogue with the spaces that host them, revealing their history from a fresh perspective.

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In 2007, cellist Caroline Milot won the prestigious Grand Prize at the Alex Coleman Chamber Ensemble Competition (Los Angeles) as well as first prize (senior strings division) at the renowed Fischoff National Chamber Music Competition.

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As a chamber musician and guest principal cellist in various orchestras, she has taken part in numerous radio-broadcast concerts throughout North America and Europe. She has also been a grant recipient at several prominent festivals in Canada, the United States, and Germany. Today, her career has brought her to perform around the world, notably on tour with the Orchestre symphonique de Montréal and the Orchestre Métropolitain.

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In 2003, she co-founded the Quatuor Ponticello, a Montreal-based ensemble of four cellists that went on to win several awards over its fifteen years of existence and released a self-titled recording in 2009.

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As a soloist, she has performed with the Orchestre symphonique de Trois-Rivières, and played Fantasque for solo cello by Jean Papineau-Couture with the Société de musique contemporaine du Québec.

In 2026, she will take on the role of Émilie Bordeleau in the symphonic adaptation of the highly popular series Les Filles de Caleb, performing as a soloist with music by Blair Thompson, accompanied by the Orchestre symphonique de Québec and the Orchestre symphonique de Trois-Rivières.

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Her playing is regularly praised for its sensitivity, expressiveness, and depth. Christophe Huss (Le Devoir), writing about Papineau-Couture’s Fantasque, described it as “a beautiful piece for solo cello [...] sumptuously performed by Caroline Milot” and highlighted an interpretation that “strikes a sensitive chord.” Meanwhile, Caroline Rodgers, referring to a duo with Tony Siqi Yun at the Orchestre Métropolitain, spoke of “a romantic drug injected through a sonic IV.”

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Caroline Milot has contributed to more than thirty recordings alongside renowned artists such as Yannick Nézet-Séguin, Marie-Nicole Lemieux, Kent Nagano, Rafael Payare, Gino Quilico, André Gagnon, and Angèle Dubeau, on the ATMA, Analekta, and Deutsche Grammophon labels.

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She graduated with highest honors from the Conservatoire de musique de Montréal, studying with Denis Brott, then pursued advanced studies with Brian Manker at McGill University, before completing a performance diploma at the Cleveland Institute of Music under the guidance of Desmond Hoebig.