I used mostly my ears

a blog about music by Marc Haegeman


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New York City Ballet in Paris – Balanchine, New York – Paris

Charles Gounod: Walpurgisnacht Ballet
Maurice Ravel: Sonatine, La Valse
Georges Bizet: Symphony in C

New York City Ballet
Choreography by George Balanchine
Orchestre Prométhée/Daniel Capps
Recorded in Théâtre du Châtelet, Paris, July 2016
BelAir Classiques BAC 439, 1080i Full-HD, PCM 2.0 / DTS-HD Master Audio 5.1, 106 mins

New York City Ballet in Paris

New York City Ballet in Paris

Of today’s top ballet companies, New York City Ballet is one of the least well represented on home video – a sorry fact the American dancers share with their colleagues from the Royal Danish Ballet in Europe. The company preserves one of the most significant and groundbreaking choreographic legacies on the planet – with George Balanchine and Jerome Robbins at its core – and is a foremost promoter of contemporary work. Yet, even in these multimediatized times, performance videos which highlight repertory and current dancers of New York City Ballet remain a precious rarity.

What a superb idea it was, then, to film the company while on tour in Paris in the summer of 2016, performing a selection of its traditional repertory. The choice was, I assume, readily made. The connection between Balanchine and the French capital is legendary. All four ballets assembled here are set to French music and both Walpurgisnacht and Symphony in C were even created for the Paris Opera. Often with nothing but light as setting and very simple costuming (except La Valse with its hints of a ballroom and slightly decadent gowns), and utterly delightful music (Gounod, Bizet and Ravel) to boast, this program is a continuous joy and may serve as an antidote against those trying to reduce dance to darkness, violence and angst. In these troubled times a shot of Balanchine is by all means a very welcome night out. By their intelligence, musicality, sense of harmony and purity of intent, his ballets are beacons of light and hope, and by their perennial modernity, continuing sources of delight and inspiration.

Try the lovely Sonatine from 1975 on a rainy day: just two dancers and a pianist on stage, yet it all is brought with effortless dignity, simple charm, and sunlit grace by Megan Fairchild and Joaquin De Luz. In no time you will feel better. This is also a disc to admire the New York City Ballet dancers of today. Like the wonderful Sara Mearns in the romantically wild and theatrical Walpurgisnacht Ballet. Or Sterling Hyltin and Amar Ramasar both superb in La Valse (combining Ravel’s Valses nobles et sentimentales with La Valse proper), offering dramatic contrast. Finally, the irresistible Symphony in C, originally made as Palais de Cristal for the Paris Opera Ballet in 1947, a magnificent showcase for the company’s health and strength. Soloists and ensemble appear in tremendous form and if this performance is in any way representative of the current state of New York City Ballet, then the company is doing really well indeed.

With François Duplat and Vincent Bataillon as the producer-director team, well known from the successful “Bolshoi Ballet HD Collection” distributed by BelAir Classiques, we are in good hands too. They know their trade and have given us some of the best filmed ballet performance videos in recent times. “New York City Ballet in Paris” is no exception. The camerawork and editing is in effect pretty simple and straightforward, but you always see what you need to see in a ballet.

This video comes without any bonus features, but here is the dance speaking for itself as only Balanchine could master it, and it deserves a place in any serious ballet video collection. New York City Ballet brought several programs on its extensive 2016 Paris tour. May we hope for some more goodies, and not only the historical repertory but also new creations, from the treasure chest?

Warmly recommended.

© 2017 Marc Haegeman. All rights reserved


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Bohemia in Paris

Bedřich Smetana: Má Vlast (My Country), 6 symphonic poems
Vienna Philharmonic Orchestra/Daniel Barenboim
Paris, Théâtre des Champs-Elysées, 20 December 2016

Má Vlast, the cycle of six symphonic poems composed by Smetana between 1874 and 1879, makes for highly attractive concert programming. It forms the perfect antidote for those who think that the traditional three-part concert offering has had its day. While not as long as most concerts, one still doesn’t feel short-changed by the 75 or so minutes, because when heard in one sitting without a break, the rich and diverse microcosm of Má Vlast turns out to be quite an engrossing musical experience. Forget the famous Moldau too often heard as a single evergreen. Only when placed within the cycle the river flows with a purpose and Smetana’s thematic structure and vivid imagination can be appreciated better than ever.

Daniel Barenboim (© Riky Davila Klein)

Daniel Barenboim (© Riky Davila Klein)

Daniel Barenboim and the Vienna Philharmonic Orchestra are touring Europe with Má Vlast in preparation of the opening concert of next year’s prestigious Prague Spring International Festival. This is undoubtedly a daunting task as much as a great honor, but the concert in a packed Paris Champs-Elysées Theatre showed both conductor and orchestra in tremendous doing and left a powerful impression. And even if the most chauvinistic music critics in Prague next May will probably tell you differently, the Viennese seem to connect naturally with the lyricism and rhythms of Bohemia. In this respect it’s good to remember the orchestra recorded Má Vlast at least three times in the last 60 years – with conductors as different as Rafael Kubelik, James Levine and Nikolaus Harnoncourt.

Strongly dramatic, often darkly colored, but also grand and festive when required, this performance of Má Vlast under Barenboim was fascinating from start to end. Not the call-to-arms as exemplified by Kubelik and the Czech Philharmonic at their most patriotic, but nonetheless a stirring exploration full of contrasting sonorities and carried by very flexible but never disagreeable tempi and dynamics, which (Barenboim hasn’t been conducting at Bayreuth for almost two decades for nothing) also frequently reminded us of Smetana’s predilection for the music of Liszt and Wagner. Barenboim, who conducted from memory, demonstrated a firm grip on the structure of each poem, but equally kept the bigger picture in mind. He appreciated the affinity of the Viennese players with this music and knew exactly how to balance a certain amount of freedom with exacting precision. The consistency of his approach enhanced the impact of the cycle as a whole just as much as it displayed the ingenuity of Smetana’s vision. The final appearance of the Vyšehrad theme at the end of Blanik sounded like a homecoming after a long and emotional voyage that had started with the simple harps in Vyšehrad. The two final poems Tábor and Blanik, strongly linked, appeared like a suspenseful quest from darkness to light, allying often mysterious sonorities with telling silences and well-judged releases of tension to balance the drama.

Color was also elemental in Vltava and From Bohemia’s Woods and Fields highlighting beautiful solo work from the Viennese woodwinds (clarinet and flute, especially), and the sometimes rugged horns adding extra spice. The brass practically covered the whole width of the stage and while Smetana uses them frequently to great effect, Barenboim avoided all bombast. It was however more than anything the magnificent strings ensemble, homogenous and precise to delight, that brought the whole picture to life and gave this Má Vlast a beating heart – whether in the romantic flowing of Vltava, the passionate events electrifying Šárka, the superb fugal passage in From Bohemia’s Woods and Fields or the high-octane drive in Tábor. Antiphonally placed, Barenboim dosed them carefully, now as leading sections, then again in a supporting role.

Concerning the orchestral balance, here and there I missed some weight in the lower strings sound, although that might have been caused by the placement of the orchestra in this venue. The Champs-Elysées Theatre doesn’t have a very wide stage and the double-basses, placed at the far left, were partly hidden behind the proscenium arch. In the heat of the action the woodwinds also tended at times to be a tad too prominent, while on the other hand the timpani, placed towards the left side, didn’t always produce the same impact. Yet these are minor quibbles about what was by all means a wonderful concert that should, eventually, do the Vienna Philharmonic and Daniel Barenboim in Prague proud.

Copyright © 2016 Marc Haegeman


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The Chicago Symphony in Paris

Felix Mendelssohn: Calm Sea and Prosperous Voyage, Op. 27
Claude Debussy: La Mer
Piotr Ilyitch Tchaikovsky: Symphony #4 in F minor, Op. 36

Piotr Ilyitch Tchaikovsky: The Tempest, Op. 18
Igor Stravinsky: The Firebird, Suite #2 (1919)
Robert Schumann: Symphony #3 in E-Flat Major, Op. 97 “Rhenish”

Chicago Symphony Orchestra/Riccardo Muti
Paris, Salle Pleyel, 25-26 October 2014

Riccardo Muti

Riccardo Muti (© Todd Rosenberg)

The Chicago Symphony Orchestra (CSO) under their Music Director Riccardo Muti finished two magnificent concerts at the Salle Pleyel in Paris. Part of a European tour that took the orchestra from Poland to Austria, by way of Luxemburg, Switzerland and France, these Paris concerts were easily some of the most rewarding classical music acts I attended this year. The choice of repertoire was agreeable, but it was the outstanding quality of the CSO as well as Muti’s vision which caused most satisfaction.
Read the full review on Classical Net


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Homage to Tchaikovsky in Paris

Piotr Ilyitch Tchaikovsky:
The Voyevoda, Symphonic Ballad, Op. 78; Piano Concerto #1 in B Flat minor, Op. 23; Symphony #5 in E minor, Op. 64
Romeo and Juliet, Overture-Fantasy; Violin Concerto in D Major, Op. 35; Symphony #4 in F minor, Op. 36

Evgeny Kissin, piano
Vadim Repin, violin
Philharmonia Orchestra/Vladimir Ashkenazy
Théâtre des Champs Elysées, Paris, 7-8 January 2014

Vladimir Ashkenazy

Vladimir Ashkenazy (© Fred Toulet)

To start the year, Parisian music lovers were treated to a small but highly delectable Tchaikovsky homage when the Philharmonia Orchestra under their Conductor Laureate Vladimir Ashkenazy appeared for two consecutive nights at the Théâtre des Champs Elysées. Following the traditional setup of overture, concerto and symphony, both programs consisted of a trio of Tchaikovsky masterpieces, spanning with Romeo and Juliet (1869, rev. 1880) and The Voyevoda (1890) the majority of his creative activity. The presence of two sterling Russian artists, Evgeny Kissin and Vadim Repin, luminous soloists in respectively the First Piano Concerto and the Violin Concerto, added considerably to the attraction of this mini Tchaikovsky fest.
Read the full review on Classical Net


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An Italian in Paris

Piotr Ilyitch Tchaikovsky: Fantasy Overture “Romeo and Juliet”
Sergei Rachmaninoff: Rhapsody on a Theme of Paganini, Op. 43
Ottorino Respighi: Fountains of Rome, Pines of Rome

Khatia Buniatishvili, piano
Orchestre National de France/Daniele Gatti
Théâtre des Champs Elysées, Paris, 26 September 2013

The Italian connection was undeniable in this concert of the Orchestre National de France at the Paris Théâtre des Champs Elysées, even if the “Italianness” was offered in various degrees -Tchaikovsky’s Romeo and Juliet by way of Shakespeare, Rachmaninoff’s homage to the great Italian violinist Paganini, and finally Respighi’s aural and visual impressions of Roman scenes.
Read the full review on Classical Net


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Russians in Paris

Sergei Prokofieff: Violin Concerto #2, Op. 63
Piano Concerto #3, Op. 26
Romeo and Juliet, Suites #1 & 2 (fragments), Op. 64bis & ter
Piotr Ilyitch Tchaikovsky: Symphony #4, Op. 36

Boris Belkin, violin
Nikolai Demidenko, piano
St. Petersburg Philharmonic Orchestra/Yuri Temirkanov
Paris, Théâtre des Champs-Elysées, 17 & 18 November 2012

The St. Petersburg Philharmonic Orchestra is a frequent guest at the Paris Théâtre des Champs-Elysées. Last November, the orchestra and their artistic director and principal conductor Yuri Temirkanov returned for an all-Russian weekend, performing music by Prokofieff and Tchaikovsky.
Read the full review on Classical Net


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She came, she played, and she conquered

Franz Liszt: Piano Sonata in B minor
Frédéric Chopin: Ballade #4, Piano Sonata #2
Serge Prokofieff: Piano Sonata #7

Khatia Buniatishvili, piano
Paris, Salle Pleyel, 19 November 2012

Since I first attended a solo recital by Khatia Buniatishvili in the smallish auditorium of the Cité de la Musique in Paris, hardly ten months ago, things have been going fast for the 25-year old Georgian pianist. Meanwhile she released her second solo CD (Sony 97129), media attention has soared, she was awarded the German “Echo Klassik” prize for most promising artist, and above all she has been touring extensively throughout Europe, and also recently San Francisco and Japan – either as soloist, with orchestras or as member of chamber music formations joining distinguished colleagues like Gidon Kremer, Truls Mørk and Renaud Capuçon. Buniatishvili had played Pleyel before in a concert with the Orchestre de Paris. But until now the big hurdle of a solo recital in the most prestigious concert venue in the French capital – which is currently her hometown – still needed to be taken. On 19 November it was taken, and how.
Read the full review on Classical Net