Connesson, Lalo, Saint-Saëns, Prokofiev, Stravinsky, Bizet
The Brussels Philharmonic, visiting Salzburg’s Great Festival House this week for a three-night set with its music director Stéphane Denève, sounds like it takes representing its home city seriously: technically proficient, I suppose, but no personality.
The first half of the concert consisted of French music, which was not the problem but probably did not help. A short contemporary work, Maslenitza, by Guillaume Connesson opened the performance. A trip to Russia and Russian music supposed inspired the composer to write this piece, but I heard nothing particularly Russian about it. It consisted of several tonal melodies or phrases, with no apparent logic for why so many and why he put them in the order he did. An inoffensive muddle.
The concert dragged on with Edouard Lalo‘s cello concerto: still inoffensive, maybe less of a muddle, but no real point either. It did contain some wonderful dancing melodies (especially one interplaying the solo cello and the flute in the slow second movement), but they never really went anywhere. The soloist, Gautier Capuçon, had a large sweet and quite beautiful tone well-matched for this music – if anyone could have made something of it, he could have. He and the orchestra followed this up with an encore: the “Swan” from Carnival of the Animals by Saint-Saëns, an animal of grace (thankfully short, however, so it had a point and finished).
The second half of the concert left France and moved to Russia for two sets of ballet excerpts: a long set from Cinderella by Sergei Prokofiev and a suite from the Firebird by Igor Stravinsky. Both actually danced, but neither sounded particulary Russian, the orchestra producing melifluous sounds instead of the somewhat more biting tones a Russian orchestra would produce (although, bizarrely, during the finale of the Firebird, Denève oddly highlighted the strings above the orchestral balance by getting them to attack their instruments as though trying to use their bows to saw their instruments clean in half – out of character for this concert, but not especially clear in motive either.
As a final encore, the orchestra returned to French music and performed the farandole from the incidental music by Georges Bizet to The Girl from Arles: again proficiently – indeed pleasantly – but without nearly the verve and personality demonstrated, for example, by the Cadaqués Orchestra in this same hall last month for this same piece.
I am busy the next two nights, and so never bought tickets for the next performances (tonight is my monthly Wednesday subscription concert). I’m probably not missing anything.