Marc Haegeman graduated as a historian from the University of Ghent. He developed a keen interest in music, ballet, photography and nature. As a dance writer and photographer he contributed to leading dance magazines in the last 20 years, including The Dancing Times, Dance International and Ballet2000, and has been working with companies worldwide. His classical music reviews appeared in Classical Net and on his blog I used mostly my ears. He is particularly interested in Russian music and the piano. When free, he loves spending time in nature, photographing landscapes and wildlife.
Nocturne may not be your dreamlike, moonlit summer night stroll, but quite a grim-visaged journey, threateningly dark with the occasional shaft of light piercing through in powerful, sonorous tutti.
Think of an exhilarating journey animated by an expert guide who lives and enjoys every moment, yet makes you believe he is discovering it with you and isn’t afraid to tease you with some daredevil steps off the beaten track.
Some 15 minutes long, in a slow-fast-slow form, Le Tombeau de Napoléon wraps a taxing solo part for tenor trombone in a dramatically compelling and sonically thrilling orchestral canvas.
Deeply moving and often terrifyingly dark, Gergiev and the Mariinsky took us on a devastating ride towards the abyss which eventually left me grabbing for a rope.
Attentive to the dynamics and tempi, Frang meshed her violin with the orchestra, naturally coming into the footlights or receding into an accompanying role when required. In effect, the performance had a feel of an improvisation.
A night to remember in Antwerp as Salonen and the Philharmonia demonstrated once again that, in the right hands, familiar repertory can still prove compelling and even surprising.
