As part of his campaign to promote women conductors, who constitute the vast majority of artists invited to conduct his orchestra, Yannick Nézet-Séguin had invited the Colombian Lina González-Granados. The idea turned out to be bright.
So, there… what a surprise! Among the conductors chosen by Yannick Nézet-Séguin, the one we had so long awaited was undoubtedly Nathalie Stutzmann: a wrought iron reputation built in a few years in the big guns of the repertoire with major orchestras.
In practice, the Frenchwoman came to Montreal in June, as if to show us that she had profound and innovative ideas on the alpha and omega of pathetic symphony. Except that nothing really came together in heart-touching music. The reputation of Lina González-Granados? A 3rd place in the La Maestra competition in 2020 and an assistant position with Riccardo Muti in the midst of a pandemic. The Colombian is now conductor in residence at the Los Angeles Opera. What we saw last night bodes much more.
Lina González-Granados conducted with clarity and commitment two contemporary scores in the register of “diversity, representativeness, inclusion”. According to statistics from dozens of , one of the four big winners of the redeployment of programming in the United States. His music, competent, is very assimilable for those who have digested the Rite of Spring. Toni alossaan by Alejandra Odgers is composed with a lot of heart. At least it doesn’t scratch your ears, but it’s a bit candid, the main theme vaguely reminiscent of the best-known theme from the sequel to Turandot of Busoni.
Flexibility and efficiency
Coming to the center of the program, what is striking about Lina González-Granados is her communicative joy in making music. There is a very big difference with Alondra de la Parra where everything seems centered on the show that the chef herself provides. With Lina González-Granados everything is centered on the music. The ample but effective gesture seems to stimulate the orchestra.
In addition, the chef takes the slightest detail very seriously, as evidenced by her very careful accompaniment of the Aranjuez Concerto. Miloš gives a version with softened contours, playing the subtlety, all the better as his guitar is very intelligently amplified, allowing an excellent balance with the orchestra and clearly perceptible piano nuances.
The last two works on the program reveal the potential of Lina González-Granados who succeeds in perfectly mobilizing the musicians of the Orchester Métropolitain. In the 1st Suite of tricorn, it seduces first and foremost with the flexibility of its steering. She shows both temperament and efficiency in the Dance of the molinera and manages the different characters and textures of the last pane Las uvas.
But the highlight of the show is the Danzon No. 2 by Márquez, a work that is easily effective, certainly, but which is rarely played with so much detail and discernment. Thus, not slowing down the flute solo helps to keep the influx and the progress. Lina González-Granados had fun with the orchestra and the orchestra had fun with her. Everything then became a delight in the dosages, the gradations, the impulses, the highlighting of this or that instrumental group: musical pleasure for real.
This concert is given again in Mercier on Saturday and in Ahuntsic on Sunday: run for it!
Latin flights
Gabriela Lena Frank: Andean Elegia. Rodrigo: Concierto de Aranjuez, for guitar and orchestra. Alejandra Odgers: Toni alossaan (Where are you going?). From Falla: El Sombrero de tres picos (The Tricorne), suite nᵒ 1. Marquez: Danzon No. 2. Miloš Karadaglić (guitar), Metropolitan Orchestra, Lina González-Granados. Maison symphonique de Montréal, Friday, November 4, 2022. Resumption this evening at the Sainte-Claire church (Mercier) and Sunday afternoon at the Marguerite-Bourgeoys hall.