Yannick Nézet-Séguin and the Philadelphia Orchestra open up the period at the Philharmonie de Paris

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Paris. Philharmonic. Great Hall Pierre Boulez. 6-IX-2022. Samuel Barber (1910-1981): Knoxville, Summer months of 1915 for soprano and orchestra op. 24 Valerie Coleman (born 1970): This is no modest voice Ludwig van Beethoven (1770-1827): Symphony No. 3 in E flat significant op. 55, identified as “Eroica”. Angelo Blu, soprano. Philadelphia Orchestra, conductor: Yannick Nézet-Séguin

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A member of the renowned American “Massive Five”, the Philadelphia Orchestra and its musical director Yannick Nézet-Séguin open the new period of the Philharmonie de Paris with a magnificent method that brings together performs from the old and the new planet (which includes a French premiere). subsequently summoning Samuel Barber, Valerie Coleman and Ludwig van Beethoven.

The initially component of the concert is entirely committed to the African American singer Angel Blue, in a quite demonstrative mirroring of two memento performs with a extremely distinctive atmosphere. Self Knoxville by Samuel Barber would seem to mix with autumn shades, all imbued with melancholy and nostalgia for the passage of time, on the other This is not a tiny rumor by Valerie Coleman bears the scars of the struggle of the black American group.

Composed at the conclude of the war (1948), Knoxville is a variety of rhapsody for soprano and orchestra, centered on a poem by James Agee, which evokes the childhood reminiscences of the writer in a smaller city in the southern United States. It is committed to the composer’s father, who died some time later. It is a piece at the same time refreshing and colourful, elegiac and going, of which Yannick Nézet-Séguin and Angel Blue give us a quite well balanced interpretation concerning soloist and orchestra, enhanced by the roundness of the woods and the silkiness of the strings. We are immediately seduced by the incarnation of Angel Blue who looks to be the excellent interpreter for the elegance and freshness (just about childish) of his timbre, for his full absence of vibrato, for the amplitude of his extension that authorizes a nicely-balanced bass. stamped as a stratospheric treble sustained by an infinite breath and a chic legate. Also lots of orchestral hues in this unforgettable interpretation: elegiac in the first portion (oboe and harp), a lot more dissonant (brass and percussion) in the 2nd that displays in a a lot more narrative way the colors of the metropolis with its popular tram, extra spiritualized and eventually solemn with a contact of drama (horn) in the finale in which Nézet-Séguin amplifies the speech quite exactly.

Employing the very same topic whilst pretty distinct in type, This is not a little rumor by African-American composer Valerie Coleman was composed in 2022 on a poem by Sonia Sanchez (1995), presented for the to start with time in February 2022 in Philadelphia with Angel Blue as a soloist and offered tonight in a French premiere. A touching homage to the American South, a hymn to childhood, really like, negritude and resilience, this symphonic poem with an obligate soprano evolves in several levels from anger to celebration and from distinct to universal. On a far more chaotic and rhythmic phrasing than right before, with a attractive sonorous amplitude, Yannick Nézet-Séguin offers us a studying in excellent symbiosis with the voice of Angel Blue who impresses listed here for his motivation, passing from murmuring to crying with awesome relieve even though the Philadelphian Orchestra shoots from all its benches (little harmony, violin, harp, percussion, brass) in a breathless development that leaves the soprano moved to tears.

Additional Prometheus, the Symphony n. 3 of Beethoven on your own he occupies the 2nd aspect, purely orchestral. Defined as “Heroic”, he remembers the fleeting admiration that Beethoven (like Goethe) had for the temperament of Bonaparte, in which he saw a unifying perspective for all European peoples. Composed in 1803, declined in 4 actions, it stands out from the former kinds for its compositional audacity as very well as for its epic and grandiose character. With a Cheerful conqueror, A funeral procession of overwhelming desolation, a Joke pretty much playful ea The ultimate triumphant, Yannick Nézet-Séguin provides us a flamboyant, pretty theatrical interpretation with strong nuances and contrasts that accentuate the episodes of tension and leisure to enrich their aid and psychological effects. Anything is superbly served by a superlative American phalanx, of which we will especially don’t forget Jennifer Montone’s solo horn, a lot in desire. A exceptional concert!

Image credit: © Steve J. Sherman

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