The Orchester symphonique de Montréal has had a string of successes in the cities it has visited since the start of its European tour. Thursday evening, it was the turn of the public at the Palais des Beaux-Arts in Brussels to communicate their fervor to Rafael Payare and his 97 musicians.
Posted at 7:15 a.m.
As has happened elsewhere, the evening was capped off with cheers, encores, many greetings and a standing ovation.
This program differed from those offered until now thanks to the presence of the violinist Augustin Hadelich who came to present the Concerto noh 5 for violin in A major of Mozart. For the needs of the work, the formation was obviously reduced by about half.
PHOTO ANTOINE SAITO, PROVIDED BY THE OSM
Violinist Augustin Hadelich, on stage with OSM musicians
Everything therefore rested on the shoulders of this formidable musician who came to Montreal in April 2018 to perform with the OSM the Violin Concerto in D major by Tchaikovsky. We had then met and I had glimpsed his warmth, his wisdom.
Like many music lovers around the world, those of Brussels have literally succumbed to the talent of this artist, undoubtedly one of the strongest of his generation, all disciplines combined. His interpretation filled the public, who asked him for two encores.
Then, in the second part, came the formidable weapon of this tour: the Symphony noh 5 in C sharp minor of Mahler, who had galvanized the public in Vienna on Monday. Am I going to surprise you if I tell you that it had the same effect?
PHOTO ANTOINE SAITO, PROVIDED BY THE OSM
The OSM, on stage at the Palais des Beaux-Arts in Brussels
Is it because the “stress” of Vienna had passed for the musicians? Is it because the effects of jet lag were less present in me? Still, I had the impression that this work, particularly theAdagietto (beautiful to cry), spread its wings further.
It must be said that the Palais des Beaux-Arts, where I came with the OSM in March 2019 in the company of Kent Nagano and Marie-Nicole Lemieux (the singer returned to this place which had consecrated her in 2000 during the Queen Elisabeth), is not a warm room, but its acoustics are impressive.
Behind the scenes of a season
There is a tendency to believe that the musical directors of the orchestras are solely responsible for the content of the seasons. At the OSM, as elsewhere, a large team led by Marianne Perron carries out this task.
PHOTO ANTOINE SAITO, PROVIDED BY THE OSM
Marianne Perron, Senior Director of the OSM artistic sector
It starts with many conversations with Rafael Payare. I want to know where it is rendered in the directory, where it wants to go. I also tell him where the OSM is. Decisions are made in this context.
Marianne Perron, Senior Director of the OSM artistic sector
There are the choices made according to the musical director, but also those created around the guest conductors. Like the soloists, they have their “repertoire of the moment”, their favorite composers. All of this must be taken into account when approaching them.
In addition to composers’ birthdays or death anniversaries, several factors are responsible for “trends” in classical music. “A work that hasn’t been performed for a long time can suddenly come back to life,” explains Marianne Perron. It is enough for a great soloist to start playing a certain concerto for others to imitate it. »
Marianne Perron, who is currently preparing for the 2024-2025 season, spends a lot of time imagining programs, noting and then deleting works. A single element (cancellation of a soloist or a leader) can change everything. “At first, I panicked. Today, I know I can get back on my feet. »
The one who rose through the ranks one by one within the OSM deplores the fact that several orchestras rely too much on their marketing department to establish their seasons. “You have to listen to the public and what they like to hear, of course. But at the same time, he is not silly. He wants us to show him things. Our challenge is in this balance. »
Tour notebook
Quebecers Carole Asselin and Robert Dusablon were with two friends in a restaurant in Brussels on Wednesday evening when they saw Rafael Payare in the company of Marianne Perron, senior director of the OSM’s artistic sector, and violinist Augustin Hadelich. The couple, who have been reading my columns since the beginning of the week, had tried to get tickets for one of the concerts in Vienna, without success. Carole approached the chef. “Are you Raphael? A friendly conversation ensued. After a few minutes, Marianne Perron offered tickets for the Brussels concert to Carole, Robert and their friends. They couldn’t believe their ears. Guess who were the first spectators to give the OSM conductor and musicians a standing ovation at the end of Thursday’s concert.
Readers have asked me how the transport of the instruments was ensured during this tour. Excellent question, because it depends on incredible logistics ensured by a team of professionals. All the instruments first crossed the Atlantic by cargo plane from Montreal to Zagreb. But since the start of the tour, small instruments (violins, clarinets, flutes, horns, etc.) can be transported by the musicians themselves on planes and trains. The bigger ones are crated immediately after the concerts and shipped to the next town. All this takes place under the benevolence of extremely dedicated employees, often at night.
Throwback to Monday’s concert in Vienna. In the afternoon, an indisposed cellist had to cancel his participation in the concert scheduled for the evening. It was nearly 3 p.m. A rehearsal was set for 4 p.m. At 3:40 p.m., we reached a cellist from the Vienna Philharmonic Orchestra. He arrived at 3:58 p.m. At 7:30 p.m., he performed with the 96 other musicians from Montreal the two works of Brahms and the Symphony noh 5 of Mahler included in the program. “As long as you experience something like that, you’d rather it be in Vienna,” someone told me.
We jump on the train, early Saturday, to go to London, where the OSM plays at the Southbank Center in the evening. We’ll talk about it on Saturday.