Π / Π Π
- Paris, Théâtre des Champs-Elysees, January 22, 2010
- Wagner , Parsifal prelude - Mahler Totenfeier ; Lieder Eines fahrenden Gesellen - Liszt, Les Préludes
- Sarah Conolly, mezzo
- Orchestra of the Age of Enlightment
- Vladimir Jurowski, direction
Second summary report in two days before recover my strength. This concert, which was admittedly somewhat the appearance of gag, however, was significantly less than the anecdotal chore Mehta offered by the previous day. Would that the program was easier to digest, even impersonate unified. Secondly, because even with an orchestra at the more than doubtful, Jurowski is Jurowski and that always happens with him something that may be questionable, horrifying to some, but just at a point that will prevent him anyway to be anecdotal. - The demonstration, a little less convincing, had already been done last season at the concert of Beethoven's own protagonists. Somehow, it was therefore reversed the equation concert Mehta / Florence: a challenging program, a passionate chef, an orchestra really poor.
Outside his link on behalf of Simon Rattle (you talk about a reason), we do not understand very well what is the Age Enlightenment reputation when so many other formations are capable of playing infinitely better level of finish with little harmony of wood, brass and natural vibrato historicist. It is quite sad to hear these musicians mumble the prelude to Parsifal one year after listening to a superb directing Jurowski to lead the London Philharmonic: if the consistency of the direction is not faulted for much that research intensity wood with primitive is not uninteresting (but great gods, how to support this apocalyptic oboe?), the third dimension, that of the gag, the subject of a superb introduction, with these violinists bow against the regular ... the first measurement for one of them. After getting used to the discipline jurowskienne, superlative elevated to spirituality, the show tends to surrealism enough, especially if one adds the trombones unable to pass a single entry - for example. But things get more interesting with Totenfeier ; because it Totenfeier , first, and because this is at least one that Mahler is heard three times a year. Because there are good reasons to play, then, not only as a rough draft of the Resurrection : This page contains many things whose absence might frustrate us by habit in the first movement of the symphony, as this astonishing overlay thematic recapitulation in the first, thematic announcement fade much more than the second: the brilliant recapitulation of the 4th ( the same process in reverse, so to speak). Finally, because Jurowski here takes such risks, for better or worse, it pays enough, at least during the first half performance. The tempo is very fast, unambiguous and away from a funeral idiom of first degree: and it does not feel the headlong rush, despite the weakness of the Orchestra and lack of certain density of the quintet (the eight double basses lined up with nothing of the impact from those of LPO in the same position). Instead, the continuity is amazing here, so that we can find a little of the management of the ductile form that had been so surprised at the Resurrection Gergiev last month. Impression that I freely admit as paradoxical: the orchestra picks, crack and smoke everywhere, but in a strange way, driving is almost completely upright.
On the reverse side of his qualities, Jurowski also manages to make the best imagine his orchestra in fahrenden Gesellen . There has especially a partner of choice in the person of Sarah Connolly, whose voice is in no way undermined by age: security patch, including in the medium does not prevent serious an amazing brightness, and an ease of projection more than appreciable. Qualities that might seem well contained merely sufficient, but whose great virtue is consistency in the records ... and in the songs. And if we deal with the prosaic horns in Ich hab ein Messer Glühend , that sweet natural heat has generally acting coach (As far as listening to detail just) still outstanding Jurowski. Even the violins lame from the Age of Enlightenment (though still in the gag, which breaks with the concertmaster's violin string and refile its attack to the head, which disconnects the bridge and no longer able to pick up, destroy attitude what) are discovering the joys of the sentence and held distinguished by sticking perfectly to the simplicity of utterance of Conolly - "Auf der Strasse ...". Then come The Preludes: and it starts to get to hoot and slide to pull the strings sickly, musket shooting at trying to convince the Big Bertha. Very hard to describe what Liszt: try to imagine Golovanov with baroque: you can not, well, he had come to this concert. At least it was fun, and somewhat perversely enjoyable, especially since I went to stick me Rigail, and missed being contaminated by his laughter at the sound of the timpani hysterical approach to the recapitulation final. Much ado about nothing? Not quite, for amidst the rumor Merry Wives of England on acid, there were some moments of musical taste. There is malignant this Jurowski. It is even a sort of smart aleck.
Theo Belaud
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