Maestro Rafael Payare offered an original and eclectic kick-off to the ninth edition of the Classical Spree. Featuring artists and composers from here and elsewhere, from different nationalities on both sides of the Americas, the concert celebrated the plurality of cultures and the richness of the musical repertoire of this vast territory.
Animated by Magalie Lépine-Blondeau, spokesperson for the event, the inaugural concert took place on a radiant end to the day. The Olympic Park Esplanade was completely filled with classical music fans eager to meet the OSM's new conductor.
Title In the colors of the Americas, the concert presented itself as a beautiful and daring amalgamation of symphonic music, indigenous sacred song, reading, musical comedy, cycle of melodies and symphonic poetry.
From the United States to Canadian Indigenous Peoples
As an opening, the choice of the OSM's new music director, who was on his first Classical Spree, focused on the Allegro confuocofrom Symphony No. 9, known as the New World Symphony, by Antonin Dvořák.
First work that the Czech composer created during his stay in America, this symphony appears as a judicious choice in order to represent an important part of the musical richness of the Americas knowing that this symphony would translate the admiration of the Czech composer for the spirituals< /em> and songs of African-American slaves on the plantations.
After the 81 musicians, elegantly dressed in white shirts and tuxedos, were installed and had tuned their instrument, the maestro came forward to meet the general public and his musicians before they began the famous work, recognizable from the first notes, evoking for some the theme of the film Jaws by John William. A superb succession of melodies, sometimes calm, from which sometimes emanated a great sweetness, sometimes more impetuous.
Innu poet Natasha Kanapé Fontaine then came to recite a text in her language, addressing her “CountryMine”, and singer Jeremy Dutcher, from the First Nation Tobique, turned out to be touching by delivering an ancestral song in Wolastoqey (Maliseet), skillfully supported by the orchestra.
Verve Venezuelanand Caribbean
Then, it was the turn of the Venezuelan trumpeter, Pacho Flores, to come on stage for the ConcertoVenezolano,specifically composed for him by Cuban-American saxophonist Paquito D’Rivera. Several interesting dialogues took place between the orchestra and the trumpeter, or the transverse flute and the woodwinds, delivered at times with languor or in a much more energetic way, then supported by the snare drum, but the outstanding moments began with the arrival of a cuatro, a small Venezuelan guitar with four strings, while Payare continued to lead, gently then with passion, the orchestra. Great moment also during the solos of Flores and a flamenco passage of the cuatristra before a superb grand and very festive finale punctuated by maracas, putting the Venezuelan rhythms very much in the forefront. A good part of the crowd immediately stood up.
The conductor then led his instrumentalists with great enthusiasm on the Bernstein's Symphonic Dances, from the musical WestSideStory, before the superb soprano Jeanine de Bique, originally from from Trinidad and Tobago, come and sing the words of Toni Morrison on a cycle of songs from Honey and Rue by André Prévin.
The concert finally ended with a discovery for many, the magnificent symphonic poem Santa Cruz dePacairigua by Venezuelan Evencio Castellanos, delivered with great gentleness and sensitivity.
Katrine Johns has been a reporter on the news desk since 2013. Before that she wrote about young adolescence and family dynamics for Styles and was the legal affairs correspondent for the Metro desk. Before joining The Gal Post, Katrine Johns worked as a staff writer at the Village Voice and a freelancer for Newsday, The Wall Street Journal, GQ and Mirabella. To get in touch, contact me through my email@example.com 1-800-268-7128