Yannick Nézet-Séguin, before flying off for the Grammy Awards ceremony, conducted a program at the Maison symphonique on Saturday afternoon, including a majority of works by female composers, judiciously chosen scores.
It is to a former musical director of the OSM, Igor Markevitch, that we owe the knowledge for several decades that From the bottom of the abyss, the setting of Psalm 130 to music by Lili Boulanger is a masterpiece. The composer, who died in 1918 at the age of 24, was the first woman to win the famous Prix de Rome. She was gifted, and her composition is poignant.
Markevitch had recorded From the bottom of the abyss in the late 1950s. There have been other versions since. Not so much. It was happy and important to hear this score, for once, in real life, on Saturday. It was especially important to note, in the interpretation of the Métropolitain and Yannick Nézet-Séguin, the power of the bass foundation. Beyond the text and the psychological situation of the composer at the time she reworked the work, the idea of the abyss really resonates and we felt its depths in the room. The conductor brought out the expressive tension, and the choice of Karen Cargill was also excellent in terms of vocal color.
Hidden composer
Moreover, there was plenty to think about at the end of the Gloria de Poulenc, that Yannick Nézet-Séguin’s flair for finding “the right voice” is truly excellent. This was the case for Janai Brugger in this Gloria : clear, sparkling, fine but with just enough body and density. The “Domine Deus” was, in this respect, a pure gem, very moving. Hats off also for the idea of placing the soloist, high up, to the left of the choir, like a voice coming from the sky. The choir was very remarkable overall, as Poulenc sets intonation traps not only throughout the score, but also from one section to another. The choir was very sure in the attack of “ Who sedes “, For example.
This admirable French choral anthology, very contrasting, was introduced, in the first part by the Gaelic Symphony by Amy Beach (1867-1944). This is the only symphony by this American composer who specializes in small forms (piano, melodies, chamber works). Beach, who published her compositions under a pseudonym or her husband’s name, is an inspired composer, with real melodic talent, who generally juxtaposes in her movements a melody that strikes the imagination and a more atmospheric section. It works very well, and we don’t get bored at all.
It made for a very interesting program.