In the midst of New Year concerts here and there, Mechelen had one with incomparable allure. With many familiar faces, with a real orchestra of 57 enthusiastic musicians and a conductor who is at home in many fields, with soloists of the highest caliber, with a perfect organizer and, as the icing on the cake, the celebration of a true Diva.
Thus the Mechels Kamerorkest, conductor-oboist Piet Van Bockstal, pianist Vincent Van Audenhove, Conservatory Director Aäron Wajnberg and soprano Charlotte Wajnberg honored the "grande dame" Lucienne Van Deyck (°1940). Not unimportant: it was the start of a tradition that wants to make each New Year a tribute to a 'monument of flesh and blood'.
That is Lucienne Van Deyck: a harmonious combination of innate talent, excellent training, hard work, an iron will and likewise discipline, success at home and abroad, charm, presence and a wealth of pedagogical know-how. That is roughly how Aäron Wajnberg painted his teacher in a laudatio that, like the unique voice of Lucienne Van Deyck, came straight from the heart. Aäron should know. As early as 2004, he came into contact with the singer whom he had always heard mentioned with respect from home. The collaboration became even more intense when he and his wife Charlotte Wajnberg-Cromheeke in 2018 prepared under her expert guidance their participation in the Koningin Elisabethwedstrijd Zang and completed it successfully. Even now, the collaboration continues.
Emotion
A goosebump moment was a recording with the so recognizable, carrying voice of the celebrated mezzo-soprano in 'In der Ferne' by Schumann. Then she came on stage, elegant, not looking quite 85, and, especially, moved. In her thanks, Lucienne proudly included her father, Louis Van Deyck, the "Godfather of the Belgian oboe school'. She herself was thanked by Gert Eeraerts, general director of the City of Mechelen, who presented her with a magnificent bouquet.
The Mechelen residents could have called this highlight and the overwhelming standing ovation "den boekee". But no, it was far from over. They also got to hear the resounding result of how Lucienne van Deyck had passed on her signature to Charlotte. Her refined interpretation of Lieder from 'Des Knaben Wunderhorn' by Gustav Mahler immersed a silent hall for a moment in the Vienna of the 19th century.
Orchestra and soloists
But it was a New Year concert. That began with the popular Overture to 'Die Fledermaus', with sparkling and less sparkling passages. Mozart's Piano Concerto No. 23 was indeed a fine symbiosis of orchestra and pianist Vincent Van Audenhove, who performed it with vigor and verve and very relaxed. Piet Van Bockstal was both conductor and soloist in the 'Fantasie for oboe and orchestra' by August De Boeck, long before Aäron became director of the Conservatory. It became a harmonious combination of a typically ethereal melody and playful elements.
The closing Fifth Symphony of a young Schubert was right up the alley of the young orchestra, led by concertmaster Chris Janssens. And, as in the Golden Hall of the Weense Musikverein, one could enthusiastically applaud along in the always rousing Radetzky March in the cozy, gilded Stadsschouwburg.