After last year’s rather mixed Orchestre National de Lille performance at the Concertgebouw under their previous maestro Alexandre Bloch, tonight’s programme with new Chief Conductor Joshua Weilerstein had a new tale to tell.
Weinberg’s Rhapsody on Moldovan themes to open was a great showcase for the ONL’s talent. Solos bounced around before the strings whipped up a frenzy as wild folk dances tinged with Jewish klezmer got the concert off to a flying start.
A quiet calm descended when French cellist Edgar Moreau joined the stage for Tchaikovsky’s Variations on a Rococo Theme. He took time to toy with the ends of phrases, even adding the occasional portamento, but everything worked. Variation 3 overflowed with romantic wonder, drawing the audience close with delicious pianos before time stood still for crystal-clear, stratospheric harmonics. Revelling in the hall’s acoustics, especially in the cadenza, he even moved his cello to the side, so as not to restrict the vibrations. Despite all Tchaikovsky’s technical and stylistic challenges, Moreau’s calm assurance and length of phrasing never wavered. An encore of the Sarabande from Bach’s Second Cello Suite was the perfect antidote.
Attention switched to the colourful Symphonie fantastique. Born from Berlioz’s fascination with Irish actress Harriet Smithson, this is a work of extremes which depicts scenes of drug-induced hallucinations including the killing of one’s lover – very far from the world of Beethoven’s symphonies which proved an inspiration.
Taking a moment to cultivate these extremes, Weilerstein’s reading was nevertheless polished and dramatic. Double basses foreshadowed the darkness before shimmering strings provided the perfect backdrop for The Ball’s glistening harps, inviting all onto the dance floor. The clearly well-rehearsed ONL followed Weilerstein’s every command. If only he could stand still. The constant bobbing up and down and swaying side to side left me feeling slightly queasy.
All was forgiven, however, when from high in the balcony, just a couple of rows behind, Claire Bagot’s exquisite oboe answered the cor anglais’ antiphonal call, perfectly evoking the pastoral Scene in the Countryside. Immaculate ensemble was matched by emotional intensity, nudging the performance up a level. The sight of four timpanists now standing centre-stage changed the mood completely. Anticipation was real for The March to the Scaffold was nigh. Relishing their moment of glory, the four bassoons were magnificent. Bolstered by raucous trombones, the previously timid trumpets found their voice, Weilerstein unleashing the full power of the ONL. Careful cymbal caresses contrasted starkly with two mighty tubas and thundering timpani, with the snare drum’s blistering roll directly under the organ loft.
Drama continued in the Witches’ Sabbath. Bravo to the urgent clarinets propelling things ever forward. The door at the top of the stairs opened and the bells pealed forth. As the brass chorale followed by skeletal strings hurtled onwards, precise direction from the podium ensured that drama and theatre prevailed. An emotional encore of Debussy’s Clair de Lune had the audience on their feet. What a difference a year makes!
