Lanaudière 2022 has ended with two concerts by Orchester Métropolitain, including, on Saturday, 1Verse did the Valkyrie de Wagner entered directly into the Pantheon in the history of Canada’s largest classical gathering.
Lanaudière 2022 will remain a festival of sums. The sum of the designed, deferred and finally realized efforts and projects; a number of concerts aimed at restoring the international aura of the event; A number of challenges to bring foreign artists into the country and bring them into the country; A set of frustrations, finally, in front of the rather soft response of the spectators in exchange for the luxury of the show.
The perfect cast
The popular respondent was there, fortunately, regarding Yannick Nézet-Séguin’s arrival with two very impressive shows this past weekend: Pelias and Melisande by Debussy and 1Verse did the ValkyrieSaturday, then, Sunday, the arrival of Helen Grimaud in concerto by Schumann, surrounded by the works of Fanny and Felix Mendelssohn.
1Verse did the Valkyrie It was a very predictable event. He is working in stages on his future bell At the Met, Yannick Nézet-Séguin actually worked rhinestone gold With great success with the Rotterdam Philharmonic a few months ago.
The prodigy of a Lanaudière evening seems simple: Christine Guerk as Sieglinde, Brandon Jovanovic as Siegmund, Franz Josef Selig as Hunding, a poster for the Metropolitan Opera, is in front of us, without the embarrassment of the show. Imperial Selig couldn’t be better at his Wagnerian bass vocal record. Goerke, like Sieglinde, absorbed the full journey of her character, gradually bringing Jovanovich with her, at first more in the status of “Opera in Concert”. Jovanovic’s solidity, Joerke’s clever vocal balance and reflections, have the sweetness and “gentle affection” of the meadow that Sieglind serves to his brother.
Far from “delicate emotion”, the trend of Yannick Nzit Seigen is as cool as Describet Parisian commentators for Rheingold. It must be understood that the orchestra in Wagner does not permeate the interventions of the singers. Through the interweaving of dominant ideas, he is the “anticipatory engine” of action and drama. So there is a way to control breathing organically. This is either panting or on the lookout, but it is permanent.
There are important moments, like the end of 2e Scene (before Hunding sleeps) and the beginning of 3eFilled with narration on the orchestra, the maestro and his music lived tensely, including patience when necessary.
Le Métropolitain, which accommodated several programs in a few days, was also ingenious (wind!) to the delight of its leader. Those who want to see how good it was, have the video on medici.tv and can listen to the version recorded under similar conditions by the “famous” Simon Rattle in 2019 with the Bavarian Radio Orchestra…
What Yannick Nézet-Séguin showed at Wagner, this “organic sense of the great whole,” was very useful to him in Debussy, who challenged the sense of color and the softness of textures. The Sweet de Pelias turned into a vast playing field, as Debussy objected to extracting music from the opera. Eric Leinsdorff did it in 1946, as Marius Constant also did, by doubling the sounds by instruments, Abaddon softened the “Leinsdorf group” (that’s what we heard apparently), René Koering did it all and it all turned upside down, he Jonathan Knott expands it all. Our best experience was the Alain Altinoglu suite, under his supervision, introduced at OSM in 2018, commissioned by Durand, Editor of Debussy. The Sabbath experience, whatever it was, was sweet but soothing.
Change of scene on Sunday with Schumann and Mendelssohns, and Hélène Grimaud’s arrival at concerto Schumann canceled it in December 2018.
Chef had just brought out Beatrice Rana a month ago in concerto By Schumann with the European Chamber Orchestra during a concert filmed in Baden-Baden. Helen Grimaud presented her with a completely different experience, a conciliatory concerto, with a constant relaunch of pace, and clear, smooth and somewhat light speech in front of the friendly and warm confidant of the Italian.
The comparison was fascinating: exchange of secrets on one side of the Atlantic, free and very stimulating conversation in the runway (2)e a movement). On a transparent but somewhat cool Yamaha piano, lacking smoothness in the lower midrange, the French pianist played strong contrasts in 1Verse Part and carry it away at 3e Movement in an irresistible storm.
In the symphonic segment, Yannick Nesit Seguin first revived a performance by Fanny Mendelssohn, who performed 2e Remember the opening topic summer night dream It was composed by his brother five years ago. He finally concluded his two parties by taking one breath (all movements associated with Ataka) A Scotch A dreamer, freer, more creative and vocal than he was on his DG recording. There is nothing worse about Mendelssohn than thickening textures and relieving tension. Nizette Seguin has never released a unified, enthusiastic breath, so stylistically accurate.
A perfect conclusion to the festival, with an orchestral level from the Orchester Métropolitain that never ceases to impress.