This all-French concert by the New World Symphony under the direction of its recently appointed Music Director, Stéphane Denève, featured an A-list quartet of compositions that was particularly welcome in that none are part of the “classical hit parade”; nary a La Mer, Boléro or La Valse was to be found.
To begin the concert, NWS conducting fellow Molly Turner led the orchestra in Ravel’s Alborada del gracioso. This Spanish-inflected number isn’t programmed very often, but it’s as infectious as other Ravel works, and it was played well here. Denève then stepped to the podium to lead the rarely performed complete score to Albert Roussel’s 1912 ballet Le Festin l’arraignéee (The Spider's Feast). This impressionistic work may not be all that representative of Roussel’s rhythmically incisive mature style, but it is a masterpiece of watercolor-like sonorities, which came across beautifully in gossamer woodwind passages and ethereal string playing by the NWS musicians.
The storyline is rather gruesome in spots, as it chronicles a day in the life of a spider and its interactions with various insects in the garden (spoiler alert: some don’t survive). In today’s performance, the story was conveyed through the animations of Grégoire Pont, a French illustrator who specializes in “cinesthetic” treatments of ballet and operatic works. The use of Pont’s subtitle-like didascalies to help present the story was a masterstroke in that audience members could use their own imaginations to augment the visuals. Premiered here, the animations resulted in an engaging experience that built on the foundation of the music – a success!
Following intermission, the program shifted to the turn-of-the-century French fascination with “all things oriental”. Mezzo-soprano Isabel Leonard joined Denève and the New World players to present an exquisite rendition of Shéhérazade, Ravel’s 1904 song cycle of Tristan Klingsor’s verse (very) loosely based on the tales from The Arabian Nights. Leonard’s rich, dark timbre is perfectly suited to the music, which begins with Asie and its “travelogue” of sights and sounds of the East. A feeling of suspended animation permeated La Flûte enchantée, while the concluding L’Indifférent was lusciously sung. In Leonard’s conception, every word had musical meaning – and as the last notes died away, it was clear to everyone that something very moving had just been experienced.