At Lotte Concert Hall, Cristian Măcelaru and the Orchestre National de France guided listeners through a sumptuous exploration of Camille Saint-Saëns, revealing how a French orchestra can illuminate every niche of its national repertoire. Joined by pianist Alexandre Kantorow for the formidable Piano Concerto no. 5 in F major, “Egyptian”, the programme formed a cohesive tapestry woven from the composer’s fascination with global colours, all traced back to a distinctly Parisian sensibility.
They began with the third movement from Trois tableaux symphoniques d’après La Foi, a succinct yet vivid orchestral sketch that served as a spellbinding introduction. Măcelaru emphasised the piece’s Eastern-tinged flourishes – nimble scalar patterns in the strings and winds – to shape an atmospheric overture that felt both ceremonial and theatrical. With transparent textures and astutely graded dynamics, the orchestra navigated the transition from restless minor-mode introspection to a triumphant major climax, offering a tantalising glimpse of Saint-Saëns’ exotic leanings without overstating them.
Kantorow then took the stage for the Egyptian, and in the opening Allegro animato, his luminous clarity and smooth legato suggested a delicately airy timbre, as though one were hearing porcelain chimes stirred by a gentle breeze. This nuanced tone allowed swirling octave passages and intricate melodic lines to glisten without obscuring their subtle contours. In the Andante, Kantorow maintained a refined poise: rather than indulging in overripe rubato or garish colouration, he used discreet pedal work and shapely voicings to evoke a dreamlike reverie. Măcelaru supported with subdued orchestral playing, enabling the soloist’s pianissimo cascades to float above a barely whispered backdrop. The result was hypnotic in its restraint, achieving a sublime balance between hushed nostalgia and crisp precision.
When the third movement Molto allegro erupted, Kantorow’s earlier restraint crystallised into a thrilling burst of momentum. He and Măcelaru channelled a bracing inevitability, drawing taut lines of direction that never devolved into mindless speed. The orchestra’s disciplined articulation, enhanced by fine dynamic shading, sparked a palpable electricity, while the soloist’s self-assured flair anchored the music’s exuberance. Kantorow was judicious in his approach to the concerto’s “exotic” motifs, illuminating their lyricism without succumbing to gratuitous sentiment. In tandem with the winds, he shaped the love-song themes into an entrancing dialogue reminiscent of a hushed, moonlit serenade.
The second half belonged to the towering Organ Symphony. From the beginning, Măcelaru demonstrated a keen structural awareness, moving seamlessly from the poised introduction into the surging Allegro. A notable flourish in the strings – an abrupt acceleration of the bow near the tip – contributed a sudden uptick in momentum, infusing certain transitions with a bracing sparkle. Although the orchestral energy dipped momentarily, Măcelaru deftly rallied his forces, reinforcing an undercurrent that propelled the music’s dramatic sweep.
Despite limited organ projection, its resonant presence anchored the climaxes with a sonorous heft, blending with the shimmering piano (four-hands). As the final blaze of C major dawned, the orchestra achieved a cohesive grandeur, every section unified in a triumphant statement. Subtle details, like a well-tapered tremolo or a discreet woodwind countermelody, had poignant impact. Such commitment to nuance bestowed the performance with both monumental might and intimate grace, a fitting testament to Saint-Saëns’ wondrous sound-world.
Showcasing his flair for balancing classical poise with scintillating spectacle, Măcelaru’s elegant podium gestures and Kantorow’s subtlety at the keyboard underscored how restraint can reveal intricacies often lost in showier renditions. The audience’s applause suggested these finely sculpted performances offered a compelling perspective on a much-loved French master.
