It’s not that often you can say that a concert was pure joy, but the “French fancies” programme offered by Enrique Mazzola and the London Philharmonic Orchestra had all the ingredients to make it just that. Each of the works on their programme are particularly radiant in themselves, but made even more so as they were presented here.
And what better concert opener could there be than Berlioz’s brilliant Roman Carnival overture, given a perfectly balanced performance. The brilliant colours of the orchestration shone through, with particularly refined brass playing, reaching its climax in the burnished brass only final cadence.
The Songs of the Auvergne are the only works by the French composer Joseph Canteloube that have stood the test of time. The selection of seven of the songs from across the five sets he composed were well chosen and varied in style. Performed with intelligence, sensitivity and taste by Anna Caterina Antonacci they seemed like perfectly formed jewels here. Particularly fetching was the famous Baïlèro, the mischievous Malurous qu’o uno fenno and the luscious seductiveness of Uno jionto pastouro. What Antonacci lacked in pure lustrousness of tone, she made up for in detailed and often touching characterisation.
Georges Bizet wrote his early Symphony in C major when he was just 17 years old. It was never performed in his lifetime and was only premiered in 1935, thereafter championed by the likes of Sir Thomas Beecham. Part of a mid-19th century interest in the symphonic form in France, led by Gounod and Saint-Saens, in many ways this Bizet juvenilia outshines all the other French symphonies from the period. The freshness of its material, with a Schubertian melodic ease and a clarity of structure, make it a completely engaging experience in the concert hall.