Π Π → VV
- Paris, Théâtre des Champs-Elysees, January 20, 2011 - Tchaikovsky, extracted from Swan Lake, Op. 20: Out of the guests, waltz of the act II waltz in Act I; extract Eugene Onegin, Op. 24: Waltz from Act II; extract The Sleeping Beauty , op. 66: Waltz in Act I; extract Nutcracker, Op. 71: Waltz of the Flowers (Act III); first movement of the Symphony No. 4 in F minor, op. 36; third movement of Symphony No. 5 in mid minor, op. 64; second movement of Symphony No. 6 in if minor, op. 74
- Orchestre National de France
- Kurt Masur direction
Should no complacency about the very great man, Kurt Masur, welcome or lament before such a program? Both, probably. A head that nobody will get suspicious of triviality or superficiality has a program dedicated to Tchaikovsky's waltzes is certainly likely to throw light on some of the seriousness of this matter: the less we know from long the sincerity of the love that Masur is the music. On the other hand, the presentation itself, giving the most to the tubes and the second part suggested a strong anecdotal, might also believe in an evening of entertainment - with annual output power of grandmothers in mink to fill almost to the brim the TEC. Yet one could not deny, no a priori or a posteriori, the seriousness with which Masur has considered the issue. And if we sometimes overestimate the ability (or motivation) of the orchestra to follow him body and soul, it tends to underestimate the authenticity of Tchaikovsky Masur, who inherited thirty years of loyal service Eastern bloc, has nothing to do with romance adulterated and standardized, full of silly effects and phrases, which more or less authority now (just look at the success of critical ridiculissime Nutcracker rattle). If it still is brilliant, with at least Tchaikovsky Masur remains dignified and turned its natural depth - his stoicism, for short. It is after all also Masur, who two years ago, with rare panache exhibited the Manfred symphony , driving for an evening at the National level disproportionate to their daily lives.
And at the start this concert, the feat is almost Tchaikovskian renewed for the third consecutive year (beautiful Romeo and Juliet last year). The initial sequence of Swan Lake frieze what National can offer better: Nemtanu is in charge and control property, the statement of the theme of the waltz in Act II is quite exemplary - the maximum simplification of the intonation, maximum intensity of sound in dynamic compliance. Masur, who takes his time fairly justified in my view, ideally ensures the stability of the plans, and if the horns are not a classy, the overall balance is quite held not to spoil the good concentration of strings. This is not Petersburg, but it's enough here for the thrill operates - that is to say that every crescendo of timpani we can believe a little that you can hear the music the most important world. This is a great joy to hear our national orchestra play as seriously this extraordinary music, which remains confined to its status ridiculous "nice classical music success," we should have a little ashamed of loving - then enjoy! But a day will come when we recognize that without the genius of Tchaikovsky orchestral, there would never ballets of Stravinsky.
I would have gladly continued to praise the pretext of the program presented, but the protagonists did not, unfortunately, given the opportunity. Once past the waltz from Act II of Onegui No, still quite successful, we saw the beautiful mechanical orchestral introduction bind slowly to finish the first part at a level almost incomparable with that already from the start - a clumsy and Waltz of the Flowers foutraque enough. The second part will be unlikely, unfortunately, that the continuation of the slow disintegration, giving the strange impression of a gradual loss of adhesion of musicians the plan of their leader. One begins to look a particular violinist of Range and think that this one or that one should not believe one second that he plays serious music, or else do not believe anything whatsoever of this so it takes the play - which is quite the same. And if a few bows do not play the game of concentration focused on the essential, the whole collapses. Masur's will move at least in the first movement of the 4th Symphony it is almost sabotaged by training who, however, is able to succeed by surpassing such highly-disciplined team performance, magnifying the minimal intervention of the head. A one time, certainly not negligible (241-291 m), obedience to the design of Masur seemed to take a little body to generate a voltage sorely missing from the rest of the movement (and particularly the presentation of the theme sonata for strings). Waltzes 5th and 6th symphonies are little more glorious, despite, in one of the Pathetique, the grain naturally noble and singing cellos. But here as in the last waltz for the first part, what astounding intensity missing in the little harmony!
Ropes National save - in part - in honor of the waltz the Serenade for Strings originally scheduled in the program and finally given a booster, but it was very late, and hope to hear an hour and a half Tchaikovskian sacred fire had long since vanished. Too bad, because the head and especially his idea deserved better.
Theo Belaud
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Conditions 2.0 France.
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