Iván Fischer opens the Musical Meetings of Évian 2025

For their first in Évian. For example, Iván Fischer and the Budapest Festival Orchestra enter the barn at the lake with one of their favorite composers, Gustav Mahler, and offer a Symphony n ° 5 superb energy, after Children’s death songs en Companie de la contralto Gerhild Romberger.

So that is expected for the 2026 edition of the opening of the Vive source, iván fischer opens musical meetings a new room of around 500 seats in which the room concerts will be held, the Musical Meetings of Évian are held this year entirely at La Grange au lake, whose scene with recently increased capacity now allows the reception of large symphonic orchestras.

To open the 2025 edition. For example, Renaud Capuçon called on Hungarian chef Iván Fischer and his aptly named Budapest Festival Orchestra, present for the occasion with a program fully dedicated to Mahler and his works from the turning point of the last century. In the first part. the Children’s death songs (1901-1904) appeal to another great accustomed to the composer, the Mezzo and Contralto Gerhild Romberger, many heard for more than a decade in the Symphony n ° 3 Including this season in Paris with Jukka-Pekka Saraste, which she recorded with Dudamel (Berliner), Haitink (BR Klassik, Clef Resmusica), and Iván Fischer, the latter with whom iván fischer opens musical meetings she also shares the The song from the earthwithout having so far left the Children’s death songs On the disc other than in piano-voice version

In ivoian, she reveals for the version with orchestra an even more serious stamp than that of the 2016 album, and an implication at all times on the text. On the other hand. if the whole first surprises by a very untied game which undoubtedly contributes not to transport the score towards too much sadness, we also feel a certain emotional distance in the song. However. Rückert’s poems are perfectly declaimed by Romberger, specifies on each word, while the oboe beautifully introduces the first lied, both followed by the bassoon. However. the strings that are still as identifiable in the wooded colors of the Hungarian formation often lack frankness and gravity, in particular in the third lied for this second point, and to the last iván fischer opens musical meetings lied of Rudese, undoubtedly also reduced by the very clear acoustics of the room.

In the second part of the concert, the whole returns much more massive in the scene for the Symphony n ° 5 (1902), and at the same time provides more vigor, not only thanks to the strings, but also by the fantastic trumpeter to open the work. Powerful. terrestrial, natural, alive, the Budapest Festival Orchestra continues to show its true identity at the same time as a total maturity for Mahler. Compared to the 2013 registration. Iván Fischer has not changed his point of view: he always judges this symphony as the most openly marked by the composer’s Jewish culture and very well releases this idea, especially in a disturbing Funeral march Introductory, full of iván fischer opens musical meetings contrasts and mood movements.

As a great Mahlerian chef. he identifies the structure in three parts much more than in five movements, and therefore links the first two and the last two, to really interrupt himself around the Scherzowhere he goes so far as to place his first solo horn (obliged horn) On the front of the stage, right next to him. If the serious strings were able to express themselves at leisure in the first part. especially during the Stormythe Scherzo gives pride of place to brass and revives the colorful and ejoleous sounds of the whole. Always full of contrasts. the interpretation benefits fantastically from the performance of the horn, never put under pressure despite its position as a soloist.

As in previous proposals of the chief. theBicker Keep a relatively rapid tempo and undoubtedly lacks a little weight by its very flexible gesture. The final puts forward iván fischer opens musical meetings the winds. which must be cited again the woods, exciting since the start of the evening and in particular in the exchanges of notes and fleeting themes in the second Lied in the first part, and always valiant almost two hours later in the final of the symphony. The strings. the brass, on the other hand, display a little more fatigue, with the advantage of creating a real impression of struggle in this last movement, and being still able to find energy to let go of all their forces in a telluric coda.

Iván fischer opens musical meetings

Photographic credits: © Les Mélèzes Matthieu Joffres

(Visited 3 times, 1 visits today)