Kulturkompasset | critics of culture events

Orchestre National de France at Champs Elysees


A fanfare opening by Paul Dukas, .“La Péri”,- Poème dansé, started the evening with this beautiful Paul Dukas, unknown to me. A good opening for an evening full of highlights from wellknown French composers.  In the same atmosphaere as if we in Tivoli, Copenhagen has attended an evening with music by H.C.Lumbye, ending up with his Champagne Galop.

Camille Saint-Säens Introduction and Rondo Capricioso for violin and orcestra with the French violinist Olivier Charlier as soloist followed, safe, elegant, virtuose. Interestng to hear this piece in fully version, with fully orchestra, as it is often a pice we hear with nly piano for audition and for concerts at a musica academy.  Brilliant with such a good soloist, were no details is left.

Olivier Charlier, virtuose violinsoloist in Ravel.

Maurice Ravels Alborada del gracioso, (fourth piece from Les Mirroirs) ended first part, presenting avery Spanish atmosphaere, and a deliciouse bassoon solo. The conductor Didier Benetti has a good feeling for this kind of music, and was jumping extra high on the force parts, to give it all the extra lift needed.

Hector Berlioz openede it all after the berak with his extraits from Romeo and Julie. Immediately I was thinking of Richard Wagner, - Tristan and Isolde, but  this is in away typically for Berlioz, that their are surprises and inspirations from many parts – Donizetti f.eks. However. I didnt get any Romeo and Juliet feeling, there were no romantic, no balcony feeling, that was too much heavy Hector Berlioz.

Ravels demanding Tzigane again brought the virtuose violinsoloist Olivier Charlier on stage. Brilliant, very well formed, and with agood collaboration with the first harpe in some difficult parts. And an encore Bach, (why allways Bach.) Search what Jacha Heifetz was playing as encores, and find something more amusing. But of course in this case mr Charlier has his good reasons for playing Bach, to get us to remember.

Didier Benetti.

It all ended up with a lovely ballatarrangement of Offenbach pieces, extraits from Gaité Parisienne, that Manuel Rosenthal has arranged for the Monte Carlo Ballet once, a very popular piece among the audience, which appluded many times during the extraits 23 parts.

To me it seems that to take Offenbachs wonderful music and make a new arrangement, as Manuel Rosenthal has done and then putting him self up as composer of it, is like stealing a piece from another composer, changing it and then presenting it like his own. I dont like that. But the piece was deliciouse, and the audience loved it, but it is still by Jacques Offenbach, arranged by Manuel Rosenthal. Negative.

 

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