Twenty-five years ago Montreal's Orchestre Métropolitain took a huge gamble by hiring a 25-year-old local as its Artistic Director. At that time, no one would have predicted that this whizkid would go on to pilot both the Philadelphia Orchestra and the Metropolitan Opera, or that Yannick Nézet-Séguin would still be the head of the OM a quarter of a century later. The fact that Nézet-Séguin is still with his Montreal orchestra is testament to his character, having remained loyal to the organisation that provided him with his first major career break. Being able to consistently motivate his charges to give 110% sets this conductor apart from so many others. The resultant synergy has been the key to the Orchestre Métropolitan's attaining top tier status in the realm of Canadian orchestras.
For its silver anniversary season launch, Nézet-Séguin designed an innovative programme, using a contemporary work by a local composer as the prelude to Bruckner's Ninth Symphony, choosing that composer's Te Deum as a finale to this unfinished work. Andrew Balfour's Mamachimowin is comprised of a choir singing Psalm 67 in Cree while the orchestra assumes the role of “Mother Earth”. This simple composition was highly effective. There was no break whatsoever before the launch of Bruckner's Ninth, which dovetailed nicely both stylistically and thematically. Each composer's personal relationship with the Roman Catholic faith was at the core of these compositions.
Throughout the Bruckner, there was a chasmic contrast between the voluminous block chord sections dominated by the brass section and the dulcet string material. The grandiose brass playing was marred at times by overly exuberant trombonists. The ascent to the final climax of the opening movement was absolutely stellar. The Scherzo suffered from a few technical issues in the pizzicato material, but the OM recovered nicely with some marvellous halcyon moments in the subsequent Trio section. The intrinsic mysticism of the opening of the Adagio was successfully transmitted. Later the Wagner tubas, securely anchored by Alain Cazes, conjured an ethereal mood. This Ninth afforded Nézet-Séguin ample opportunity to play to his strength in honing gorgeous phrase arcs.
Bruckner died before he was unable to finish his Ninth. The magnificent third movement certainly leaves one hanging. Sir Simon Rattle has championed a finale that was crafted by an editorial team drawing on Bruckner's sketches. Instead, Nézet-Séguin chose to use Bruckner's Te Deum as a substitute finale, although this euphoric work doesn't stylistically mesh with the preceding Adagio.
Although the Choeur Métropolitain has improved by leaps and bounds over the last decade, the Te Deum, with its frequent unisons and largely conventional voice leading, is well suited to their current level. The choir's vocal production was polished and their balance was admirable. The blend of the quartet of vocal soloists did not generally reach this standard. However soprano Latonia Moore's clarion tones and the a cappella section preceding the bass solo were impressive. This rendition benefited from the solo work of concertmaster Yukari Cousineau.
