A thought experiment: if Beethoven’s patron Prince Lobkowitz had been able to teleport to today and bring a pianist back in time to his princely court in Vienna, how might he choose? From last night’s opener for the Festival International de Piano de La Roque d’Anthéron, there’s a strong case for Bertrand Chamayou. There is an elegance to the 42-year old Frenchman’s playing, a crispness, a way in which every note rings with pearlescent shimmer while he teases out theme and mood that makes him bewitching to the ear. If you seek nobility and glamour in piano playing, Chamayou supplies it by the bucketload.
Extraordinarily, in view of Beethoven’s deafness when he wrote it, the “Emperor” Concerto is a piece filled with sunshine. Chamayou impressed immediately with his lightness of touch, the accuracy of his passagework, his ability to conjure texture (I wrote “sunlight playing on water” as he played) and the way every repeat of a theme sounds different and yet persuasive. His cantabile in the slow movement was to die for and, later in that movement, you could see his chamber musician chops by the intense eye contact between him and the musicians of the Orchestre de chambre de Paris and the resulting perfect synchronisation. Only in the third movement Rondo was I left wanting: I’m not sure that “rumbustious” is a mood that comes easily to Chamayou and this was far from the most explosively joyous performance of this finale that I’ve heard. A generous encore, the slow movement from Haydn’s last piano sonata, provided soothing balm while showcasing pianistic elegance at its finest.
Chamayou and Lionel Bringuier have been friends since student days, but this is the first time in 17 years that they have played a concert together. Their delight at doing so was evident from the broad grin Bringuier wore for the whole evening, with Chamayou less demonstrative in performance but equally so at the curtain calls. Bringuier is a no-nonsense conductor who brings plenty of enthusiasm but eschews histrionics, his gestures clearly delineating what he wants from his players. The orchestra proved a fine match for Chamayou’s crisp, clear style. String ensemble was impeccable, visible from the togetherness of movement just as it was audible. The balance between instrumental groups and soloist was impeccable. The sound was clean and spare, with little or no vibrato in the strings and the woodwind players giving clarity but avoiding drawing attention to themselves. The horns, on the other hand, were very much in evidence, as befits the Emperor where they play an important role.
All these qualities contributed to a delightfully cheerful reading of Beethoven’s Symphony no. 4: light, full of dance, characterised by handover of themes from one instrument to the next so seamless that you felt as if you were listening to a single, shape-shifting musician. Dynamics were daring, from whisper quiet pianissimi in the second movement to fortissimi that were impressive for a chamber orchestra, powered by fine brass and timpani playing. The opening piece, an overture by Emilie Mayer, was pleasant but will not linger long in the memory.
The open air stage at the Château de Florans is a beautiful place, surrounded by giant, ancient plane trees. A half-dome of acoustic panels ensures that the sound of every instrument is well projected; the main challenge is provided by the cicadas, who certainly add Provençal atmosphere but need you to put in some effort in tuning them out during pianissimi (mercifully, they had quietened down by the time of that lovely second movement of the symphony). It’s an exceptional venue and this was a fine festival opener.
David's stay in La Roque d'Anthéron was partly funded by the Festival International de Piano de La Roque d'Anthéron.
