With all the variety of musical genres and forms of music-making,respectively performing groups a Symphony Orchestra is the kernel, the core of any Philharmonic, and it determines the level of the concert organization. I think this is an objective law, as if a city has hundreds of great musicians that can play together and create a quality ensemble - so it (the city) all right with the musical art and artists for the other teams .
Novosibirsk Philharmonic is lucky - it has one of the best symphony orchestras of the Russian province, I believe it can compete with the teams in the capital . It is not surprising that the current concert season has started and is marked by the 60th anniversary of our Symphony Orchestra, which offers us extensive and varied programs, involving not only the artistic director of the orchestra G. Rinkevicius, principal guest conductors T. Sanderling and F. Mastrangelo, and numerous guest performers - major domestic and foreign conductors and soloists.
My attention was drawn to the concert, which was held a week ago, for many reasons: first, it sounded the beautiful French orchestral music of the second half of XIX - early XX century, and one of the pieces in the program was played for the first time in Russia; secondly, because the conductor was the famous musician in our country Mark Gorenstein, and among other things, a graduate of the founder of the Novosibirsk orchestra A. Katz, however, is not a frequent visitor to our city. Finally, it was interesting to get acquainted with the youngest member of the famous Ashkenazi musical dynasty - pianist Vladimir Sverdlov - Ashkenazy.
The whole concert sounded creative and interesting. Its program was designed and built with the knowledge and taste and did not contain a single "optional" element. The Russian premiere of "Dramatic Scenes" (Suite # 3 for orchestra) by Massenet was written in 1873 and had eliminated the historical injustice: it gave our audience an opportunity to get acquainted with a remarkable work created in the best traditions of French romantic orchestral music coming from H.Berlioz, the essence of which can be summarized as a desire for musical theater, brightness of images, the beauty of orchestral sound and showiness, but did not negate the substantial depth. It should be noted that the orchestra and the conductor felt and understood each other well, the performance gave the impression of an absolutely full and complete work, and the music itself made a strong emotional impact.
I think many were curious to hear the "Walpurgis Night" from "Faust" by Charles Gounod from the concert stage outside the context of the opera - that is, as a symphonic suite, not accompanied by the famous ballet scene. Conductor, free from the need to emphasize the so-called dance like of this score and consult with the technical capabilities of the dancers, eliminated all the usual "balletomane" fermata - ritenuto-sforzando and gave the music not only reticence and smoothess, but I would say, even a kind of nobility and elegance. The performance was perfect, but ... just the ballet charm, deliciousness, spicy sensuality of the work disappeared. But here, as it is said, who loves what - a refinement, or ballet "flavorings". I think M. Gorenstein in his creative manner generally tends to align with more subtle and lyrical fillings and impulses, and to "give" all the emotions in the energy-rich fragments,which was confirmed in the future course of the concert.
The pianist Vladimir Sverdlov-Ashkenazy played a well-known and very effective work - Concerto #2 by C. Saint-Saëns for Piano and Orchestra. He is effect, artistic, looks absolutely consistent with the image of a romantic musician (which is appropriate to the performance of this work), he has an excellent bright sound and superb technique. However,I did not have the subtleties in his performance and consistent dramaturgy, making it possible to fully perceive the architecture of the composition. I must say that the orchestra part in this work Saint-Saens brought virtually to a background, a modest accompaniment , but nevertheless it is an important component of the work.
Brilliant completion of the program was the performance of the suite from M. Ravel's Ballet "Daphnis and Chloe". Impressionistic sound, timbre wealth, deep expressiveness of the lyrical fragments, a fascinating change of sound "paintings" ecstatic passion in the final - it all was there and it captivated the audience as well as 100 years ago. Thus, for me, the concert ended with the climax, the anniversary season has just begun and there is hope that these culminations are still a lot in the future.
http://gorensteinmark.livejournal.com
http://mi2n.com/press.php3?press_nb=188252
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