Π Π / Π
- Paris, Théâtre des Champs-Elysees, February 3, 2011
- Mozart Rondo for Violin and Orchestra No. 1 in B flat major if , KV. 269 - Violin Concerto No. 5 in the major, KV. 219 - Strauss Also Sprach Zarathustra, Op. 30
- Thomas Zehetmair, violin
- Orchestre National de France
- David Zinman, executive
This concert gave slightly less than what one could expect from him, without disappoint more than reason. Not that I had hoped the evening of the year or even month, but still, Thomas Zehetmair in the great Mozart concerto, this is not nothing. As for David Zinman, after his great performance at the head of the Orchestre de Paris last November, it was enough to expect him to do play Zarathustra better than the National ... Orchestre de Paris with Nelson, which was not very difficult. This was the case despite a lack of tension starts and readability, defects largely corrected from Von der Wissenschaft and especially from a fugue well brought to completion. The voltage is then maintained through the overall strength of the quintet, also reaching Zinman, as with the OP, to play in harmony with a little more hold than usual - although this is not transcendent, far it did. The problems of ease, intuition phrases resurface after the great transition color, 30 to 37 or so, (not very Elastische ) where the violins too lacking cohesion and common breathing rhythm - Nemtanu pretending here less conductive than in his brilliant Heldenleben edited by Nelsons (certainly) two years ago. The band found a bit of discipline from the central theme returns (48) to get relatively decent conclusion. All this could have been on strict terms of orchestral virtuosity is still the central issue of this work (for those not convinced it is one of the largest metaphysical experiences, and it's a little one or the other), rather anecdotal. Consistency and sobriety of the direction of Zinman - who looks more and more Masur in his leadership style - was partially avoided.
Previously, it was not the very best Zehetmair we heard, but Zehetmair standard enough to provide a good lesson in musical intelligence. Left to repeat itself, it is certain that his violin is far from being one of the most beautiful circuit in terms of sound, at least: it showed a more marked in those aileurs Mozart in his magnificent Brahms Double this fall with Poltéra and Gardiner. The relative bitterness, fairly limited projection have at least one advantage: to know right away that it is not about the kind of charming salon music. The stakes are real lesson from the characterization of the rondo in B flat if, as in the management of the theme in how to integrate or to retire quietly tutti - violin science in itself and, here recalls Curiously the new Mullova. The start of the fifth concerto is also not made it to prettiness or heat, but the tension is obvious - despite this lack of homogeneity troublesome in the orchestra for the first steps as in many other places. Where Zehetmair frustrated a little bit is in the occurrences of the opening theme (in both senses, because it closely resembles an early opera imaginary) of the allegro aperto, which seems in part refuse immediately to another nice violin. This does not preclude any conduct in this Zehetmair I be perfectly balanced, and her adagio frankly admirable height (length!) View. The orchestra will begin at about the level of the soloist for the rondo, providing an interlude Turkish quite successful, frank Collar and without the ridiculous suspensions on the levees that we heard too often.
One of the highlights of this honest party held just over the bar routine will eventually bis of Zehetmair (which it definitely intends to offer reminders of the outgoing usual): A remarkable piece of Heinz Holliger Memorabilia Newcastle , peanuts given French premiere (Zehetmair, also creator of the concerto had already offered Holliger British premiere in Manchester in late January after the Beethoven concerto).
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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