V / VV
- Paris, Théâtre des Champs-Elysees, January 21, 2011
- Rimsky-Korsakov, Shéérazade - Brahms Symphony No. 1 in ut minor, op. 68
- Maggio Musicale Fiorentino Orchestra dil
- Zubin Mehta, executive
time to discuss this unlikely concert is timely: a victim of the outbreak of gastroenteritis that descends on Paris, this is an excellent excuse for not getting tired too, and incidentally to beat my own record again Pun of the dumbest imaginable - but still has some meaning. Zubin Mehta, a living legend of the line, as do ultimately matters more than four or five claiming such longevity at this level (and none can boast of having directed him as fifty seasons ... the Vienna Philharmonic) , shares a lot with Lorin Maazel, which is not a very original observation. Same generation, almost the same trajectory of gifted orchestral highlights many relations in common (Vienna, Munich, New York), a technique to beat her own pocket to put in their most skeptical musicians despite the propensity for superficial and tropism shared for the spectacular and possibly foil, thus for odd style programs that proposed here. Remains the most embarrassing thing in common: chefs, as cruel and conclusive the finding may seem, aging badly: the latest Parisian concerts Maazel have nearly all proved the point of nausea - and it is very unlikely I would venture to go live with its Mahler in the spring ... Mehta had not appeared here since his concert with Vienna in January 2009 as scheduled concert accessory very same evening when a boulézienne anthology. In view of this concert, it's hard to believe that we had missed something two years ago.
I have rarely seen a concert, at least for the so-called international level, where a head seemed to have as little or as badly to say. To the point that this happens in any analysis, comment, exegesis, we can not really describe the emptiness, the absence of up to one interventions in poor taste that might have made the evening at least funny. In fact there was one, a piano subito Match grotesque effect in introducing the first of Brahms ... Just to remind them who's boss probably because the Besides, the only thing to put in their mouths, much against expectations, was the Maggio Musicale Fiorentino Orchestra. Many listeners had to find this training at least as, if not more shocking than his musical director. This era is my somewhat perverse fondness for the charm of the bands rotten Italian orchestras of the 50s (which we always end up getting used because of when their plays called Furt, Kogan, Michelangeli and De Sabata), but I found qualities not only pleasant, but quite rare. First in the little harmony, as opposed to the smooth round and uniform to own charm, but with at least significant virtues of strength and willingness to pierce the fabric (including oboe). The brass have the charm of another rocky time, and the strings, despite their solo violin and cello in Rimsky also insufficient in Brahms, have at least quite the natural ability of orchestras Italian economy phrasing , which finally form their community spirit with the Russians - for fairly obvious reasons of similarity of writing.
These qualities have somewhat deluded in a fundamentally non Rimsky-headed, if not in terms of implementation, few challenge: if voltage architectural forms of engagement were instrumental to the exchange, and in a way more meritorious than listening to what Shéérazade was not obvious, a year after that, literally extraterrestrial offered by Temirkanov and Petersburg. It would be interesting to hear this orchestra with Temirkanov, if one day it was pushing its incursions to Florence Italy. Even Brahms, it surely is clear that with this more speeches Mehta in total autopilot, offering only cumbersome and confusing boredom at one point.
Theo Belaud
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .
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