In the1960s, a cellist/conductor couple attained superstar status. Several decades later, Daniel Barenboim invited Alisa Weilerstein to play the Elgar Concerto with the Berliner Philharmoniker – a work that he had largely avoided performing since his wife Jacqueline du Pré's premature death. At this concert, Weilerstein performed with a frequent musical partner – her husband, Rafael Payare.
The couple chose Prokofiev's Sinfonia concertante for this programme with Payare's Orchestre symphonique de Montréal. It was evident from the outset that this concerto had been more thoroughly rehearsed than is sometimes the norm with this ensemble. The hue of Weilerstein's cello sound served as a portent of the haunting character of the opening Andante. Both sharply articulated and lyrical material was handled with aplomb by the OSM strings.
Despite extreme technical challenges of the Allegro guisto, Weilerstein was able to finesse the music's sardonic character. The cadenzas, resplendent with lightening quick double- and triple-stops, were endowed with expressive phrase arcs.
The Our Toast folk melody that launches the Andante con moto was brilliantly rendered by the solo bassoonist. This boisterous tune was passed to Weilerstein, then to a solo string quartet of section leaders and finally to a double-reed quartet. In this passing of the torch, the orchestra demonstrated a cultivated degree of sensitivity, too often exclusively associated with chamber music ensembles. Payare seemed to fear that the OSM accompanists might derail in this tricky and infrequently performed composition. In fact their reading was not only secure, but also tastefully balanced and nuanced.
Lavish praise is due to Weilerstein, who tossed off the Prokofiev as if it were child's play, thereby empowering her to lift the music off the page. In her Bach encore, Weilerstein wrung out every last drop of the music's beauty.
Ravel's Daphnis et Chloé, the other work on the program, was monumental in the OSM's history. The orchestra recorded this piece with Charles Dutoit 45 years ago, the first of what would become a succession of Decca CDs, garnering international acclaim.
Payare's interpretation of Ravel's ballet revealed a profound understanding of the music's complexity. The conductor was looser here than in the Prokofiev, trusting his players more. That freedom fostered an elevated degree of expressiveness. Payare's blending of the cornucopia of colours in the score made for a spellbinding reading. Only in a few instances did the stylistic approach stray too close to that of Sacre du Printemps and too far from Daphnis' immediate predecessor at the Ballets Russes, L'après midi d'un Faune. Ravel's symphonie chorégraphique needs to dance; Payare and the OSM made that happen. The OSM Chorus sang well, although they were buried by their orchestral collaborators on a few occasions. The big Pantomime flute solo was handled, as it was on that storied 1980 OSM recording, by Timothy Hutchins who left no doubts as to whether he still has it.
It was a treat to hear such a magnificent account of this masterwork. As for Weilerstein and Payare, how about the Elgar Concerto next season? We can only hope.
