In these troubling moments, music brings us what the news doesn’t. There is nothing ‘fake’ here”. Thus, a characteristically engaging Yannick Nézet-Séguin announced what he called “one of my favourite programs”: three chronologically close works, united by their shared tonality (C). The three Cs reminded me of the “Communication, collaboration and commitment” mantra of motivational speakers; add competence, confidence and consistency, and you have a fair summary of this outstanding Orchestre Métropolitain concert (heard on March 26).
The Overture No. 3 by Emilie Mayer, dubbed ‘the Female Beethoven’ in her time, had as much Rossinian warmth and Mendelssohnian youthfulness as Beethovenian style. A solemn opening leads into a playful theme that then intertwines with a more lyrical idea. All in all, this a work of aristocratic divertissement rather than dramatic tension. But the orchestra was appropriately agile and responsive to the music’s light-hearted, entertaining spirit.
Christian Blackshaw (piano) with the Orchestre Métropolitain conducted by Yannick Nézet-Séguin. Photo: François Goupil
Much admired by Beethoven, who emulated its darker shadows, Mozart’s C minor piano concerto, was transformed in the hands of British artist-in-residence Christian Blackshaw into a lovingly delicate, private confession. Heroism and dazzlement were downplayed in favour of intimacy and sensitivity, in a manner more Schubertian than Beethovenian. The piano’s first entry was touchingly fragile, hushed and melancholic, the overall tempo restrained enough to allow details to be savoured, yet flowing enough to allow for exquisite interplay with the orchestra. The cadenza, presumably Blackshaw’s own, was in line with the discretion that preceded it; parts of it worked better than others.
A meeting of minds shaped the sublime slow movement, poised between serenity, anxiety and poignant stillness. The finale continued in much the same resignatory vein. Was there room for more Mozartian lust for life and joie de vie? Perhaps. Could the piano have had a greater sonic presence? Possibly. But Blackshaw’s interpretation was also entirely convincing in its own terms, and it was delightfully echoed by the orchestra.
Christian Blackshaw (piano) with the Orchestre Métropolitain conducted by Yannick Nézet-Séguin. Photo: François Goupil
Then came Schubert’s great C major symphony, the work for which Schumann coined the bons mots “heavenly length.” As Nézet-Séguin added, “Great words not just because of its proportions and the fact that there’s also Schubert’s shorter C minor Symphony, but also because of its vision.” It was indeed the conductor’s clarity of large-scale conception that gave this performance its sharply defined profile, making it one of the most exhilarating interpretations I have ever heard. The sheer energy could have come as a shock to the system to anyone used to a more Brucknerian, monumental approach.
The opening horn theme was swift yet fluid, and devoid of mannerism, making the transition to the Allegro all the more natural, and the eventual crowning return of the theme all the more splendid. There was no hint of gratuitous sentimentality in the haunting second movement, whose subtle march-like undertones gave way to full-on militaristic defiance as the fateful climactic dissonance approached. The rhythmical relentlessness of the third and fourth movements were masterfully combined with felicitous texturing, notably as featherweight strings allowed the brass to cut through. Having the double basses facing the audience stage-right, not only added depth to their contributions but also gave us the chance to savour the artistry of veteran section leader, René Gosselin.
Throughout, Nézet-Séguin’s unstoppable energy was nothing short of electrifying, and Maison symphonique’s warm acoustics were ideal. The subtle shift of background lighting between pieces was atmospheric without being gimmicky. All in all, this was an excellent showcase for the orchestra and a must-see for anyone lucky enough to be on their touring route in the coming days.
For more on Orchestre Métropolitain’s season visit www.orchestremetropolitain.com
