The orchestra of the Suisse Romande advances in digital actuality with out neglecting actual expertise | Culture | EUROtoday

GinEbra’s Romande orchestra congratulated its subscribers with a hologram. The Swiss Symphony Formation, based in 1918 by Ernest Ansermet with French, Belgian and Italian musicians, printed postcards with a picture (a volumetric icologram) that’s activated with the precise utility by an clever phone. The consequence permits you to find the orchestra in your kitchen or in your front room whereas deciphering the overture of Carmenof Bizet. They are actually immersed within the launch of the Virtual Hall, an utility developed by Cybel’Art for digital actuality glasses, which is able to enable experiencing immersive musical performances from seven completely different factors of the stage in 360 ° format.

“This tool does not intend to replace the experience of the orchestra live, but to live it from home in a much more enriching way than with a conventional video,” says Steve Roger, managing director of the Romande Suisse, who acquired El País in his workplace in his workplace of Victoria Hall, its historic live performance corridor in Geneva in 1894. Proof of that is the Spanish tour with Ibermusic that the Swiss orchestra begins at the moment Tuesday, February 11, within the National Auditorium of Madrid, and can finish on the Canary Islands Festival On the fifteenth and sixteenth of this month, after passing by Zaragoza and Barcelona. Roger invited us to strive the brand new platform with goal quest 3 glasses, with which we may immerse ourselves for a couple of minutes among the many musicians of the Swiss formation throughout an interpretation of the Eroic Symphonyfrom Beethoven, below the baton of Jonathan Nott.

“At first it was a bit skeptical with this virtual reality project,” acknowledges Nott himself in his renew sound”. However, the British teacher, head of the Suisse Romande since 2017, defends this technological project with fascination as a new experience: “I’ve verified that it permits me to point out the general public one thing that I didn’t know that I may share.” Talk about the connections that are created among musicians when running an orchestra. “That you may find in other places of the stage and go searching permits you to expertise the power and danger of a dwell interpretation,” he admits. But also proposes improvements. “It could be nice to have cameras among the many public, since I’ve all the time seen the orchestra as half of a circle that should be accomplished with the general public, which might be the opposite half,” he says.

NETT talks to the program that will direct on his Spanish tour, focused on ballet Spring consecrationby Igor Stravinski. “It is a piece carefully linked to the historical past of this orchestra, with the well-known Ansermet recording for Decca in 1950, and a beautiful combination of the Russian, the French and the Swiss, as a result of Stravinski completed the composition in Clarens, close to right here,” . But the English director is an accomplished specialist in it, after having recorded it three times: with the Bamberg symphony, in 2007 (with the Tudor label), with the Romande Suisse in 2017 (Pentatone) and with the Tokyo symphony in 2018 (Exton). “It is a really tough composition, created by blocks and the place all the pieces may be very vertical, however you can not inform a narrative vertically, so you have to discover horizontality,” he affirms about that mixture of rhythmic complexity, politicality and sound primitivism that served Walt Disney in Fancy to illustrate the evolution of life on earth and the extinction of dinosaurs.

The British teacher has his own ideas to renew the impression that caused his modernity among the public after his famous 1913 premiere. “The key is not to forget that it is a ballet. And a ballet is nothing other than a game against gravity. It is necessary to make music float to find that horizontality, although it is not easy to get a hundred musicians to touch with that subtlety and fluidity, ”he says. We talk about a 35 -minute score containing a whopping 444 compass changes that are used irregularly to increase tension. However, Nott directed in Geneva an impressive version of the work on February 6, where he precisely highlighted the tense and fluid narration of the final sacrifice. “I’ve the benefit that this orchestra is aware of the work very properly, which additionally permits me to delve into particulars and colours,” he adds.

Stravinski’s work occupies the center of the tour program, between the orchestration of André Caplet del Clear moon, by Claude Debussy, who opens the first part, and the Concert for violinby Jean Sibelius, who forms the second. NETT explains this innovation in the program: “It is something like a dramaturgy. We start with something intimate, such as the orchestration of a piano piece of Debussy. Then we continue with the mass and public work of Stravinski, to return in the second part to the confidentiality of Sibelius. ” He assures that his intention would be to offer the orchestration of Debussy followed without pause by the beginning of Spring consecrationbut it is impossible for the limitations of Victoria Hall. “I wish to strive it within the great Spanish auditoriums, though different instances I’ve preceded the Stravinski ballet with brief works of Messiaen or Ligeti.”

It is the first time that the English director collaborates with the Japanese violinist Midori. “For me it’s a sort of heroine, as a result of I used to be already very well-known as a toddler, once I began and I noticed her succeed within the nice phases,” he acknowledges. Comments the importance of finding the cantabile And the flexibility for the soloist to try things. Thus, it was, on February 6, when the violinist arrested time in the most contemplative moments of the work. Midori briefly attended El País in his dressing room at the end of his performance. “Every time I play the Concert for violin From Sibelius it appears barely completely different, with that Nordic magnificence that makes it distinctive, ”he says. It can be his debut with the Romande suisse, an orchestra of which his ductility to make music collectively. And it maintains a particular hyperlink with the Garnerius violin of Gesù Ex-Huberman of 1734 that has been taking part in for many years: “I have grown up with him and pushes me every day to work harder.” As a tip, he provided an beautiful Largo of the Sonata for violin solely no. 3from Bach. “Bach’s music always gives me hope and comforts me,” he confesses.

The Japanese debuted in Spain with Ibermusic in 1987 and was a frequent presence till 2002. However, as revealed in her memoirs, Simply Midori, (Henschel), printed in German in 2004, suffered in these years anorexia and despair, which introduced her nearer to the examine of psychology and humanitarian activism. “A concertist needs health and that implies both the body and the mind. It is not enough to practice much, we need a healthy mind to be able to connect and communicate through music, ”he says. However, Midori has intensified his presence in Spain lately: “I know all the auditoriums where we will play on this tour,” he admits. On the opposite hand, NETT may also intensify its actions in Spain, however in 2026 and after ending its titles with the Gin and Tokyo orchestras: “In January I will direct the Fifth Symphony From Shostakóvich with the jonde, and in April I will interpret the Sinfía turgalila from Messiaen with the Symphony of Barcelona and National of Catalonia. In addition, I will direct an opera next season at the Teatro Real in Madrid. ”