The cello by Gautier Capuçon at the opening of the Pablo Casals festival

Tradition remains: The inaugural orchestra evening of the 75ᵉ edition of the Pablo Casals festival highlights the cello. Nevertheless, inviting on the stage of the Saint Michel Abbey of Cuxa Gautier Capuçon alongside the festival’s chamber orchestra, founded and directed by Pierre Bleuse. Nevertheless,

They are young and recruited internationally, in the superior conservatories and high schools of music; Musicians come to Prades for ten days to perfect their training as performers, in the cello gautier capuçon opening pablo ranks of the orchestra, supervised by mentors, and alongside their chamber partners during concerts “Young Talents & Friends” scheduled in the morning in the many churches and other more atypical places of Conflent.

The cellist. For example, his “Matteo Goffriller” are playing this first evening at the Abbey with the Cello concerto of the British Edward Elgar. Similarly, The work is registered with his repertoire. Therefore, which he approaches with a confusing mastery, in perfect complicity with an orchestra which can only be galvanized by the presence of such an artist. However, Alchemy operates. Similarly, in this fabulous musician, between a masterful left hand and the ease of an eminently led bow to model a sound which belongs only to him, with this warm grain that maintains a vibrato always well dosed and this radiant light that his treble dispenses.

It is the cello, in its deep register, which begins the concerto and immediately captures our listening, in an introduction of an intense lyricism before the altos launched the first theme. Consequently, The sound of the soloist is sovereign. In addition, which carries the song always above the tutti; However, Gautier Capuçon listens to the orchestra with whom the dialogue is established and of which Pierre Bleuse, who directs this evening without score, treats balance. For example, The rupture brought by the pizzicati as sound as dramatic of the cellist creates the surprise to the Mitan. of the movement. The incisive finesse of its arch of the bow in the last part of The cheerful is accompanied by. an elven lightness orchestra. Gautier Capuçon reveals a large melodic line. full of emotion in the central cello gautier capuçon opening pablo adagio where soloist and orchestra, in good understanding, sing and breathe together. The eloquence of the cello is at its height in the short rate which brings back the measures of. the introduction before the almost rapid final. With a generous as much as expressive gesture. engaging in all the flexibility of the body, Pierre Bleuse married the dramatic meanders in the liveliness of the exchanges and the fluctuations of the tempi.

The bis with orchestra is none other thanThe song of the birds, “The Hymn to Peace” by Pablo Casals which resonates at least once during each edition of the festival: it is played this evening in the almost religious silence of the abbey and the listening collected from the public, with a very special emotion that cello gautier capuçon opening pablo one feels within the orchestra as under the ark of the soloist.

A bluffing symphonic rendering

The festival orchestra is by two and the ropes in reduced number (only two double branches!) To interpret in the second part of the concert Symphony n ° 4 From Tchaikovski. a challenge already taken up the previous year where the “pathetic” of the Russian resonated with happiness within the walls of the abbey.

The theme of fate (the Fatum) which introduces the symphony and which haunts the whole first movement immediately puts us with confidence, sounding high and clear to the two buffers doubled by the bassoons. The well ribbed discourse suggests the excellence of woods within a solistic. chiseled writing (clarinet, bassoon, flute) as well as the string desk cello gautier capuçon opening pablo is lightened. Pierre Bleuse models the sound. the dynamics within a discourse a little bushy but well conducted and a dramaturgy which makes sense. The Solo de Haubois in the Andantino is remarkable (that of Sébastien Giot. solo oboe of the Paris Orchestra) which introduces a second movement while delicacy and nostalgia, to which the solos of bassoon and horn echo which do not demerate. The Scherzo is a jewel, which begins in a sweet shudder, under the “leggerissimi” pizzicati of the strings. He challenges the two double bass including the projection of the Sidère sound! The light features of wood. piccolo in the central part revive the colors and maintain the kinetic energy that Pierre Bleuse circulates throughout the movement. She also crosses The cheerful with fire Played “Attacca”. launched by the brilliance of cymbals that set the tone of the popular festival wanted by the composer. On the cello gautier capuçon opening pablo walls of the abbey. the Lumière scenography accompanies the dramaturgical trajectory of this last movement where Tchaikovski brings back the “Fatum” (tragic call for brass) before redoing all the light in the last minutes of the score. The final right is right. with the firm support of the percussion, under the galvanizing gesture of bleuse stone, maintaining without failing the magnitude and the color of the large symphonic orchestra.

We will find the chief. his orchestra in the closing concert, on August 8, where Berlioz, Debussy and Mozart are on the bill.

Cello gautier capuçon opening pablo

Photographic credit: © François Brun

(Visited 1 times. 1 visits today)