I just had to get this off my chest: I absolutely hate concerts and performances that start late. Arriving on time and starting on time is a matter of politeness. At deSingel they try to strictly adhere to this. This New Year's Concert started punctually, a fine way to begin a new year that sets an example for others to follow.
Symfonie Orkest Vlaanderen rings in the year festively with a tribute to Leonard Bernstein, who would have reached the hundred-year mark this year. An artist difficult to pigeonhole: pianist, composer, teacher, mentor and source of inspiration for many. Leonard Bernstein also possessed the unique gift of explaining the structure of a classical composition to the general public in an amiable manner. He combined provocation with charm. Dirk Brossé had the good fortune of meeting Bernstein in person a couple of times. He was and remains fascinated by his talent and versatility. Brossé too has not hidden his artistic talent under a bushel: trumpeter, successful composer and respected conductor on the international music scene. There is certainly a case of kindred spirits here.
Alongside a selection from Bernstein's oeuvre, this New Year's Concert also includes work by Brossé himself that carries the theme of PEACE in this turbulent time period. This as a tribute to his idol Bernstein's pacifist ideals. After the assassination of J.F. Kennedy, a close friend of the composer, he proclaimed in a speech: "To honour his memory we will make even more beautiful and even more interesting music as a counterweight to all violence." With the composition of this New Year's Concert, Dirk Brossé, together with Symfonie Orkest Vlaanderen, makes a serious statement. Of course, the obligatory waltzes were not forgotten, which belong in a New Year's concert as salt and pepper belong in a meal.
PART 1
Maestro Dirk Brossé does not appear on stage in a stiff suit, but in a loose-fitting long Indian shirt, kurta, which gives him plenty of freedom of movement. Before the intermission, Bernstein's versatile oeuvre, both well-known and lesser-known pieces, is presented. Starting with the sparkling Candide Overture and Suite (1956), full of variety and colour. Followed by Divertimento, which Bernstein composed in 1980 on the occasion of the hundredth anniversary of the Boston Symphony Orchestra. In what could be described as an experimental drive, Bernstein set himself the challenge of building a composition around the notes B (si) and C (do), which stand for Boston and Centennial. This resulted in a rich and differentiated composition, in a sequence of a couple of powerful character pieces. Difficult to play given the complex structure, but Brossé guides the orchestra through it with Fingerspitzengefühl. At times pure, ethereal and nostalgic, but also with folksy and cheerful fragments. Then a piece of film music from On the Waterfront directed by that other American name that resonates, Elia Kazan. Writing film music is perhaps one of the most difficult disciplines. The music must sometimes be almost unconsciously present and at other times predict, support or reinforce the action. Completely in the service of the visual material. Dirk Brossé chose the masterful Presto Barbero, from this suite a transcription for brass instruments, percussion and piano. Impressive. Then the maestro brings in the young soprano Katrien Baerts. A young lady with quite a few credentials already. She reached the semi-finals of the Queen Elisabeth Competition, among other things. The first song she performed was I Feel Pretty from West Side Story: young, coveted and loved, which has meanwhile become part of our collective memory. But she truly excelled in the aria Glitter and be Gay from Candide. In this, Cunegonde hides her sorrow over the war that has torn her family apart with laughter and feigned cheerfulness. Katrien Baerts warbles like a lark, hides behind a spark of madness, flirtatious, sensual, reaches the highest note with great agility of her voice, and smoothly switches from euphoria to sadness. An extremely difficult role, in which she demonstrates phenomenal vocal control with the greatest ease. Like a pearl set in music. She won over one, two, three of the audience. A diva in the making.
PART 2
The second part opens with the Philadelphia Overture, a work that Brossé composed in 2010 as a gift to the city of Philadelphia upon his appointment as Music Director of The Chamber Orchestra of Philadelphia. He feels like a fish in water there and managed to capture the versatile facets of this vibrant cosmopolitan city in a vibrant colour palette: driving, relaxing and uplifting.
The composition of this New Year's Concert is not entirely without commitment. 2018 is also the end of W.O.I. The Great War we must never forget. Hundreds of thousands of young people who gave their lives so that we would be free. A luxury that few people on our planet are allowed to taste. Time for introspection. Dirk Brossé composed together with Jef Neve and Frederik Sioen in 2015 the oratorio Distortion, a Hymn to Liberty. Each composer gave a personal interpretation of the theme 'peace and freedom' within his own language. Brossé evokes the raw sorrow of a mother. Katrien Baerts performed in a gripping way I didn't raise my Boy. Melody as moving as the silent images of Käthe Kollwitz, the deep sadness and despondency of a mother who loses her child. A trauma or a wound that does not heal. Even in this state of mind she managed to move and get under your skin with her interpretation. Followed by Peace: music as a plaster on the wound. From the horror and violence back to safer waters and carefully blossoming with faith in a peaceful future. This New Year's Concert concluded with four waltzes: Straussiana by Erich Wolfgang Korngold. This Austrian composer had to flee to America in the interwar period. He especially gained renown in Hollywood as a film composer. Subsequently The Age of Innocence by Elmer Bernstein, a nephew of. The well-known Waltz nr.2 by the rebellious Dimitri Shostakovich and as the final chord Dirk Brossé transformed the Radetzky March by Johann Strauss sr. into the Radetzky Waltz with new daring harmonies. You find points of connection with the march version each time but smoothly the composition each time takes another surprising turn. A masterful sample of compositional technique.
Conductor, soloist and the Symfonie Orkest Vlaanderen were treated to minutes of applause. There followed a delightful encore by Lebanese composer Gabriel Yard, a little waltz from the film music he composed for the film Camille Claudel.
You can still buy a ticket for this New Year's Concert for the performance on Sunday 21 Jan. at Muziekcentrum de Bijloke Gent and Sunday 28 Jan. at CC De Spil Roeselare each time at 3 p.m.
- WHAT: New Year's Concert Symfonie Orkest Vlaanderen
- WHO: Symfonie Orkest Vlaanderen conducted by Dirk Brossé with soprano soloist Katrien Baerts
- WHERE & WHEN: deSingel, Antwerpen, 14 January 2018