Marvellous live performance of Mozart directed by Maxim Emelyanychev making his debut in Berlin – Seen and Heard Worldwide






Germany Mozart: Sabine Devieilhe (soprano), Berlin Philharmonic Orchestra / Maxim Emelyanychev (conductor). Livestreamed from Philharmonie Berlin, considered on the Digital Live performance Corridor, 29.10.2022. (GT)

Sabine Devieilhe (soprano) and Maxim Emelyanychev (harpsichord/conductor) © Bettina Stöss

MozartLe nozze di Figaro Okay.497: Overture; ‘Oiseaux, si tous les ans’, arietta, Okay.307; Idomeneo, Okay. 366: ‘Zeffiretti lusinghieri’, Ilia’s aria; Serenade in D main, Okay.239 ‘Serenata notturno’; Die Entführung aus dem Serail, Okay.384, Konstanze’s aria; Cantata, Okay.427, ‘Et incarnatus est’; Symphony No. 38 in D main, Okay.504 ‘Prague’

In latest live performance seasons, audiences have been blessed by the excellent abilities of the conductors that we’ve in Scotland. I take into account Thomas Søndergård and Elim Chan on the Royal Scottish Nationwide Orchestra and the younger Russian Maxim Emelyanychev on the Scottish Chamber Orchestra. Final season Søndergård made his debut with this world-class orchestra, and tonight it was the flip of ‘our’ Maxim Emelyanychev in a programme a lot just like these he usually directs in Scotland.

The opening of the Le nozze di Figaro overture was thrilling with the Russian conductor taking a super-fast tempo – surprisingly, I recall Yevgeny Mravinsky directing this piece on the identical barnstorming tempo! The pace didn’t upset the Berlin Philharmonic’s musicians, and it was beautiful to see how they had been relishing the efficiency. The orchestra had been seated in a decent semi-circle across the conductor. Emelyanychev was continuously guiding the stream of the music together with his arms and gesticulating fingers and thru his eyes – capturing a hypnotic connection together with his musicians. With out utilizing a rostrum, his vitality was fascinating and pleasurable to observe as he uncovered all of the pleasant colors of Mozart’s rating.

Within the pre-concert interviews, I used to be stunned that Emelyanychev and the French soprano Sabine Devieilhe mentioned they’d not labored collectively earlier than. Emelyanychev mentioned that this debut live performance with the Berlin Philharmonic was ‘fascinating as it’s [always] completely different with each orchestra, I noticed this orchestra first on video tapes, and in addition once they later got here to Moscow, and when I’m in Germany I come to listen to them.’ He thought {that a} distinct high quality of the orchestra is, ‘there may be nice communication between the musicians.’ The Russian mentioned that for him the Mozart programme was particular, as a result of when he was singing in a boys’ choir, they gave him a nickname of ‘Mozart’. ‘There’s a lot flowing in his music, it’s [written] in several types’. Devieilhe, who was additionally making her debut right here in Berlin, mentioned that her efficiency was distinctive due to the ‘fluidity of the programme, and she or he identified that within the ‘Et incarnatus est’ from the Cantata, ‘there was an exquisite dialogue with the woodwind.’

In her opening arietta, ‘Oiseaux, si tous les ans’, the Russian accompanied persuasively on the harpsichord as Devieilhe sang together with her fantastically expressive and delicate soprano. Within the second aria, she moved to the entrance of the stage to sing Ilia’s aria from Idomeneo ‘Fluttering zephyrs…oh so mild’ with the orchestra now taking part in a softly mild pianissimo in a passage of full concord with the sleek perfume of Mozart’s rating.

The conductor left the stage for the orchestra to play ‘Serenata notturno’ with the chief Krzysztof Polonek introducing the opening dramatic Marcia, adopted by the Menuetto, with the music-making led by the quartet of Polonek and Christophe Horák on violins, Naoko Shimizu on viola and Janne Saksala on double bass all contributing to a charmingly harmonious passage, with particularly nice virtuosity from Polonek. The Rondo was distinguished by great string taking part in, and closed, not with out humour, on the timpani of Wieland Wetzel.

Konstanze’s aria from Die Entführung aus dem Serail, ‘Ach, ich liebte’ was splendidly portrayed by Devieilhe in full character together with her half, and capturing the difficult excessive Cs effortlessly, supported properly by the beautiful accompaniment by Emelyanychev and the orchestra. The soprano moved again into the orchestra for ‘Et incarnatus est’ from Mozart’s Cantata, now singing in Latin – the fourth language of her efficiency – but shifting into the character with none hassle. Her singing was charming and there have been very good solos from the oboe of Wenzel Fuchs and the flute forming a dialogue with the soprano.

Within the ‘Prague’ Symphony – as he typically does in Glasgow together with his SCO – Emelyanychev began conducting the opening Adagio – Allegro motion earlier than the applause had stopped by immediately starting the just about demonic opening bars, after which shortly switching to an elegiac passage with Emelyanychev conjuring pleasant play from the woodwinds and engaging daring strokes from the timpani in a build-up in drama heralding the splendidly sleek singing theme on the strings. Instantly shifting to the second motion (Andante) in a passage of lovely string taking part in, there was a sequence of noble intonation from the elegiac flutes and bassoons.

Within the Presto finale, impelled ferociously by the conductor, the vigorous flutes and horns had been as if taking part in for his or her lives. Emelyanychev evinced the demonic type of Mozart’s writing – and imparted by his vitality and fixed motion on stage – his dynamic temperament summoned dramatic thuds on the timpani, heralding a terrific, thrilling climax. Notable options of this live performance had been the viewers applauding between the actions, which seldom occurs at Berlin Philharmonic concert events, though it was a characteristic throughout this yr’s Musikfest. As in Glasgow, it appears the Russian overwhelms his listeners with the sheer emotion and pleasure of his music-making. It was a outstanding debut for Emelyanychev and can result in extra invites from this nice orchestra.

Gregor Tassie

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