The Orchester symphonique de Montréal gave its first concert at Carnegie Hall on Wednesday evening under the direction of its new conductor Rafael Payare. It is an understatement to say that the tandem impressed the public of the mythical New York room.
At Carnegie Hall, there are successes and there are triumphs. There 5e Symphony by Mahler from the OSM and Rafael Payare was a real triumph. This one was easily noticed by the spontaneous ovation of the whole room from the last note, but also, more discreetly, at the end of the movements, with the joyful, sometimes flabbergasted looks that various neighbors, obviously long-time regulars, s were exchanging.
great pride
The spectators were absolutely right, and for any Montrealer or Quebecer, the pride of seeing the orchestra fight and succeed in everything, particularly with such strength of character, aggressiveness and flexibility in the 2e movement, could only move.
Here is a tandem that works with a very different dynamic than during the previous mandate and the orchestra wanted to underline the part of the conductor in this transfiguration by remaining conspicuously seated from the 3e recall to let Rafael Payare collect the applause.
The speed with which the Venezuelan conductor changed the energy and color of the orchestra is quite staggering. It’s like a horse once ridden at a trot galloping off over the Epsom Derby. We have already talked about corns. The color of the desk was highlighted in the 3e movement, during which Catherine Turner (first horn player) made a real demonstration not only in terms of accuracy, but of nuances and colors with phases clearly imitating the postilion horn, mouthpiece raised. It was a great idea to have her play standing up. Same compliments for Paul Merkelo, imperial (and phrasing magnificently), and surprise with the cello section sharper, more present. As the violins and violas fought like devils, and the woodwinds played at their level, it was a kind of great musical celebration to which the percussion contributed greatly (superb 2e movement).
The formidable pivot movement (central Scherzo) is negotiated with more and more ease, nuances, dynamic contrasts and suppleness in the revival of tempos. This is where the OSM and its leader anchored their success. The orchestra has visibly mobilized its ultimate forces in the 5e movement to “bring back the cup”, but we cannot ignore that the program was audacious at best, to say the least.
Striking and lunar
Not only was the concert very long (2h30), but to precede the grueling 5e of Mahler by the 2e Concerto de Bartók amounts to adding a lot of work for sections (winds, and especially brass, as well as percussion) which should have to preserve their energy for Mahler. A Bach or a Mendelssohn concerto generally suits everyone, not to mention that, during his lifetime, Mahler insisted on always programming his Fifth in the first part so that the musicians are “fresh and ready” to play it. The 2e by Bartók is somewhat the antithesis of that.
That said, it was a pleasure to finally hear it, especially with lively percussionists and a pianist who possesses the virtuosity and sound. In addition, Bronfman being an excellent musician, he does justice to the subtlety of the nuances of the lunar 2e movement. The only small question, which will arise (or not) at the Maison symphonique this Thursday, and which is due to our lack of bearings in the New York room, is the balance of the 1er movement, a piano and wind dialogue, in which, on the floor, we had far too much piano.
The concert opened with a work by Canadian Dorothy Chang, a score that avoids the usual games of caricatural contrasts to favor the fine intelligence of the orchestration, patience and deep perspectives. Rafael Payare directed it like a sound sculpture.
The public present last night will certainly come back next time!