Gustavo Dudamel and the LSO, a extra French than German love story | Culture | EUROtoday

Virtuosity and flexibility are two qualities which might be normally related to the London Symphony Orchestra (LSO). The British staff, which was born in 1904 as a consequence of a labor rebel towards Henry Wood and its Queen’s Hall orchestra, quickly consolidated its persona, able to satisfying the musical tastes of very well-known and really totally different administrators. Until Richard Strauss himself directed this orchestra in 1922 and recorded his symphonic poem for Columbia Don Juan and the waltzes of his opera THE CABALLERO DE LA ROSA. And, in 1923, Serguéi Kusevitski directed one of many first interpretations of the well-known Orchestration of Maurice Ravel of Pictures of an exhibitionby Modest Musorgski. That is why the pure connection that the LSO has present in its first assembly with Gustavo Dudamel in 4 actions distributed between Madrid and Barcelona, ​​which culminated final Monday, May 12 within the National Auditorium with a rare live performance that put the ultimate contact to the Ibermusic cycles.

The sensational program of the Venezuelan star of the rostrum aspired to exhibit virtuosity and flexibility of the LSO by confronting German and French musical modernism after gala humiliation within the Franco-Prussian battle. Four compositions of distinguishing distinguished distinguishing and Ravel, written between 1888 and 1910, who opposed the German superb of a music that explores the emotional and psychological towards the French, which contemplates it as a supply of delight and sweetness. The steadiness opted on the French facet, particularly within the first half. The symphonic poem Don Juanof Strauss, began overwhelmingly with these impetuous florites that signify the protagonist’s youth impulse. However, the remainder of the work, primarily based on the model of Nikolaus Lenau, lacked the depth that we heard in its aforementioned recording of 1922, regardless of its technical limitations. Of course, the British orchestra shone each collectively and on the particular person degree, with beautiful alone of the violinist Benjamin Gilmore within the past love journey and the oboist Juliana Koch within the second, though he doubt it didn’t know easy methods to mirror the frustration of the protagonist that may lead him to be killed in the long run.

Ravel’s change was shocking. And, initially of the music cycle Shéhérazadethe LSO exhibited a way more clear sound, which Dudamel enriched up elevating the textures of the fantasy world that surrounds the soloist within the intensive first music entitled Asia. The Soprano Letona Marina Rebeka was a luxurious as a soloist, with a caudalous, homogeneous and versatile voice, though her French articulation was not very clear. The delighted flute He had beautiful alone from Gareth Davies and ended with The detachedwhich masterfully evoked the paradox between need and indifference. But the very best of the night time got here after the break with an distinctive interpretation of the Spanish rapsodiafrom Ravel. Dudamel sharpened every dynamic and every texture of the rating, however with out neglecting the nightlife of the start or the rhythms of Malaga and Havanera of the next two actions. His imaginative and prescient of the work underlines the modernity of Ravel’s writing above his regular exoticism. And converts the festive remaining motion into an ideal synthesis of sensuality and vitality.

But the live performance ended with the opera suite THE CABALLERO DE LA ROSAof Strauss, attributed to the Artur Rodziński orchestra director. An orchestral choice that, though it doesn’t respect the order of opera occasions, successfully paraphrases its musical achievements. The LSO once more admitted ideally to essentially the most phlegmatic and sweaty sound of the German composer and Dudamel shone right here extra clairvoyant than in Don Juan. However, he was lacking hondura to dive within the complexity of the seemingly delicate and reasonably priced language of this rating. We verified it within the preliminary prelude, which sounded extra intense than voluptuous. The presentation of the rose was very lovely and the distinction of the intrigues, profitable; But the gorgeous and anachronistic waltz of the Rudo Barón Ochs didn’t end rising, regardless of the beautiful camer inflections and their rustic aftertaste. The third local weather of the final act additionally didn’t discover his emotional temperature, though he doubted class particulars just like the beautiful delay added within the plan instantly for its remaining half. However, the ultimate waltz celebrating the defeat of Ochs was propelled effectively and unleashed a sound ovation. Dudamel exhibited within the remaining applause the best tune he has with the musicians of the LSO, though for now his love story is extra French than German.