Montreal Symphony Orchestra | A taste of a brilliant European tour

Rafael Payare is back in the metropolis this week to break in part of the program he will conduct at the head of his orchestra during the first European tour they will perform together from October 21 to 28. The preview we were given to hear Wednesday evening at the Maison symphonique leaves little to worry about the overseas success of the Orchester symphonique de Montréal (OSM).

It is with Liszt (The preludes), Ravel (Concerto for piano in G with Víkingur Ólafsson) and Shostakovich (Symphony n^oh 10) that the ensemble will begin its visit to the Old Continent (Zagreb and Budapest). It is the same program that was heard Wednesday evening in Montreal.

The formation will continue its journey with two programs at the Konzerthaus in Vienna, where it will resume certain works performed in recent months, Nanie and The Song of Destiny of Brahms with the Wiener Singakademie, the Rhapsody on a theme by Paganini with Montreal pianist Bruce Liu and the Symphony n^oh 5 by Mahler, also performed in South Korea last summer.

After the Palais des Beaux-Arts in Brussels (Mahler and a Mozart concerto with violinist Augustin Hadelich), the OSM will find Ólafsson at the Royal Festival Hall in London to close its tour. Belgians and Austrians – and those who attend Thursday’s concert at the Maison symphonique – will also hear Elysium Montrealer Samy Moussa. Lots of work to do, therefore.

Classical fans may have already heard Icelandic Víkingur Ólafsson, one of Deutsche Grammophon’s new stars. Aged 38, he already leaves in his wake a series of chiseled discs testifying to a keen sense of reinvention.

Of his Concerto in G by Ravel, we will particularly remember a slow suspended movement, with colors from another world (despite the now traditional cell phone ringing at the worst moment…). The rapid movements are for their part well assured, with a poetry of each moment.

As a reminder, he offered, for his friend Andrew Wan, co-principal violinist of the orchestra, a strange transcription by August Stradal (a pupil of Liszt and Bruckner) of the slow movement of the Trio Sonata n^oh 4 in E minor for organ, BWV 528, by Bach. Strange because it annihilates the dialogue between the two hands made possible by the organ. But the pianist plays the piece with an absolutely unique depth and touch.

We taste less the direction of Payare in the concerto. It is true that Ravel indicates few changes of tempo in rapid movements. But certain changes of atmosphere invite in our opinion to more differentiation.

And misses the scoundrel side, in particular by a slight anticipation of setbacks and syncope. However, the leader of the OSM enters admirably into the climate established by Ólafsson in the central movement.

The Symphony n^oh 10 by Shostakovich is much more convincing. The Venezuelan eloquently showed us his affinity with the Soviet composer last year during the opening concert, during which he gave a fascinating Symphony n^oh 5.

Here, everything is smooth, the lines flowing naturally. The initial Moderato is a true Moderato (not a Largo as some chefs do). The following movement, an Allegro, is performed with a telluric energy, despite certain notes which could be more “dry” (the first two, in particular, are too long, too comfortable).

The final Allegro (second part of the last movement) could also have done more by shortening the space between certain motifs to obtain something more breathless. But overall, the work, conducted from memory, is well digested, well felt by the titular conductor of the OSM. We will see them with pleasure in November!