Musical contrasts from the Orchestre Métropolitain, Yannick Nézét-Séguin and María Dueñas

Two especial compositions were selected by Yannick Nézet-Séguin for this program with Montreal's Orchestre Métropolitain (OM):  Johan Halvorsen’s Violin Concerto followed by Shostakovich’s “Leningrad” Symphony. The musicians adapted admirably to the sharply contrasting demands posed by both works.

Halvorsen's concerto has significant Canadian connections. Written in 1909, it was dedicated to and performed on four occasions in Europe by Canadian violinist Kathleen Parlow. After that, the work fell into obscurity. Decades later, Halvorsen ordered that all copies of the score and parts be burned upon his death. However Parlow had secreted a copy of the music back to Canada, which was unearthed at the University of Toronto's music library by James Mason in 2016.

Sibelius' well known Violin Concerto predates the Halvorsen by just a few years. Both amply employ rhapsodic cadenzas that exploit the violin's double stopping capabilities. The 20 year-old Spaniard María Dueñas quickly won over her audience with the lyricism of her initial cadenza, which was absolutely sublime. In contrast, Dueñas was on fire as she energetically navigated the technically demanding finale. She sounds like Joshua Bell, with a gentle sound that nonetheless carries over an orchestral accompaniment  and that is coupled with virtuosic technical prowess. The Montreal audience responded ebulliently to Dueñas' performance, so much so that an encore was offered, with orchestral accompaniment no less. In Halvorsen's tranquil Chant de la Jeune Fille, both the soloist and her accompanists educed a transcendent experience. This was the highlight of the evening. In this encore, Yannick Nézet-Séguin was spiritually fully in the moment and yet remained sufficiently out of the way to foster an atmosphere in which all the performers were empowered to reach their full expressive potential.

From this idyllic music, the OM abruptly shifted to a work inspired by what is widely viewed as the most abhorrent military siege of World War 2. Given the current state of affairs in both the Ukraine and the Gaza Strip, Shostakovich's “Leningrad” Symphony is arguably as relevant today as it was at its inception some 80 years ago. In this mammoth work, Nézet-Séguin and the OM navigated the composition's emotional depths with an impeccable blend of precision and impassioned fervour. Their performance deftly captured the symphony's thematic richness, juxtaposing moments of chilling tension with poignant melodies that soothed the soul. In the opening Allegretto, there was some first rate solo work on both piccolo and violin that evoked an ominous sense of portending doom. The invasion theme was impressively set up by what began as a hauntingly faint snare drum ostinato which signalled the inexorable advance of hostile military forces. A lovely flute duet evoked a poignant sense of loss in the subsequent Adagio movement. Kudos to the OM's viola section, whose cantabile playing in the finale was downright  gorgeous. In the symphony's numerous raucous climaxes, judicious balance was consistently  maintained. The OM's laudable attention to detail resulted in a reading distinguished by both rhythmic precision and a cohesive interpretive approach.

The OM rarely takes on works that require mammoth instrumental forces. Therefore, I had wondered if they would be up to the challenge. Fortunately, their sterling esprit de corps carried the day and they were indeed able to do full justice to the gravitas of this Shostakovich symphonic epic.