Sunday November 24, the prodigious and already world-renowned Argentinian pianist Tomás Alegre performed at the Bourgie Hall of the Montreal Museum of Fine Arts in a subtitled concert Chopin and posterity: war, mysticism and passion.
Born in Buenos Aires in 1992, he is a “Protégé of Martha Argerich and a rising piano star on the international scene”. He offered us “a romantic program of high virtuosity, where the influence of Chopin on the great pianist-composers of the 19th and 20th centuries is manifested. »
Rarely have I attended such a stunning concert. The display of virtuosity was nothing short of breathtaking. On the program, in order of presentation, we found the following four eminently virtuoso works:
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Sonatas pour piano nº 3 and C minor, op. 58Frédéric Chopin (1810-1849)
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Sonatas pour piano nº 4 in F sharp major, op. 30Alexander Scriabin (1871-1872)
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Sonatas pour piano nº 1 does minor, op. 1Sergei Prokofiev (1891-1953)
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Sonatas pour piano nº 2 in B flat minor, op. 36 (1931 version), Sergei Rachmaninoff (1873-1943)
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The Chopin, lasting some thirty minutes, innovative, romantic and tormented, is in four soaring movements and is a reflection of “the emotional tension of the summer of 1844” experienced by the composer and attributable to his failing health and the death of his father.
The Scriabin, barely eight minutes long, in two movements, testifies to the “mystical” turn that the composer’s life took at the very beginning of the 1900s. During the second movement, intended “as quickly as possible, at the limit of possible”, Tomás produced sparks.
The Prokofiev, in a single movement divided into four sections lasting a total of seven minutes, is the astonishing work of a composer who was only fifteen years old at the time.
As for the Rachmaninov, in three movements totaling nearly twenty-five minutes, of which Tomás made a spectacular fireworks display, it is intended to be an evocation of bell sounds and, for Hélène Grimaud — French pianist — “this sonata sings the death, that of loved ones or those who are going to die, but it also announces hope. »
Tomás played entirely from memory, without any visual support. At times, one might have thought that he had four hands, as this recital was an almost continuous musical surge seeming to be produced by two pianists.
The maestro’s appearance is as changeable as the position of his hands on the keyboard. While he puts the black and white tile to the test, a play is played out in his face, as expressive as that of a silent film actor who strives to convey all his emotions through his gaze and facial expressions. . His eyes close or widen, his eyebrows adopt a circumflex accent or contract, his lips move, he monologues or hums, he regularly gives smiles that are sometimes happy, sometimes seemingly sad. In short, it is very intense and visually most eloquent.
The virtuoso, who did not utter a single word throughout the concert, offered two short encores, just as captivating as the content of his program, without however breaking his silence to identify them. We therefore do not know what he played and who the composers were. The first encore sounded like Rachmaninoff to my ear, and the second had jazzy accents at times.
That a musician does not mention either the title or the name of the composer of a work he is about to play will always be a source of astonishment and disappointment for me: for any musician, to present his encore in due form shouldn’t it be an automatic reflex?
At the conclusion of his flamboyant program, and after each encore, the valiant pianist received a very legitimate standing ovation accompanied by long and warm applause. I would take such high-flying concerts any day.
Immediately after the concert, Tomas went downstairs where he happily chatted with spectators (in Spanish at the time I encountered him) and signed autographs.
Tomás Alegre is active on Facebook and invites you to hang out son site internet bilingual, Spanish-English, to learn more about it. By the way, the charming Bourgie Room, inaugurated in September 2011, is located in the nave of an old church (Erskine and American), enjoys exceptional acoustics and is decorated with around twenty splendid Tiffany stained glass windows. Do not hesitate to frequent his site internet to consult its most varied and exciting program and obtain tickets for an upcoming event.
**Given the Bourgie Hall’s reputation for exceptional acoustics, how did Alegre’s performance choices, specifically his decision to keep the encores unidentified, interact with and potentially impact the overall audience experience?**
## Interview with Tomás Alegre: A Virtuosic Night at the Bourgie Hall
**Introduction**: Good evening and welcome. Tonight, we delve into the captivating world of classical music, reviewing the recent performance by Argentine pianist Tomás Alegre at the Bourgie Hall in Montreal. We have the privilege of hosting two distinguished guests: [Guest 1 Name and Credentials – e.g., Music Critic for The Montreal Gazette], and [Guest 2 Name and Credentials – e.g., Classical Music Professor at McGill University]. Welcome both.
**Section 1: The Artist and the Program**
* **Interviewer:** Tomás Alegre is described as a ”Protégé of Martha Argerich” and a “rising piano star.” [Guest 1], in your review of the concert, you mentioned Alegre’s “breathtaking virtuosity.” Could you elaborate on what makes Alegre stand out as a pianist, comparing him to other rising stars in the classical music scene?
* **Interviewer:** The program featured works by Chopin, Scriabin, Prokofiev, and Rachmaninoff. [Guest 2], these composers represent a diverse range of styles and periods. What can you tell us about the specific works chosen by Alegre and how they highlight the theme of “Chopin and posterity”?
* **Interviewer:** The program notes mention the influence of Chopin on subsequent composers. [Guest 1], in your opinion, how effectively did Alegre demonstrate this influence through his performance?
**Section 2: The Performance and Its Impact**
* **Interviewer:** The article highlighted the intense emotional range displayed by Alegre during the performance. [Guest 2], how does a pianist convey such depth of emotion through a purely instrumental medium?
* **Interviewer:** The article also mentioned Alegre’s decision not to identify the two encores. [Guest 1], what are your thoughts on this practice? Does it detract from the concert experience for the audience?
* **Interviewer:** Both of you were present at the concert. What was your overall impression of the atmosphere and the audience’s reaction to Alegre’s performance?
**Section 3: Looking Ahead**
* **Interviewer:** Tomás Alegre is actively engaging with his fans online and through his website. [Guest 2], in today’s digital age, how crucial is it for young artists to cultivate a strong online presence?
* **Interviewer:** The Bourgie Hall is known for its exceptional acoustics and stunning ambiance. What makes this venue a special space for experiencing classical music?
* **Interviewer:** what advice would you give to aspiring young pianists who are inspired by Tomás Alegre’s talent and dedication?
**Conclusion**:
Thank you both for sharing your insights and expertise on this fascinating topic. We applaud Tomás Alegre for his exceptional performance and look forward to witnessing the continued growth of his remarkable talent.
