Between sparkling rhythms and melancholic dances, the Belgian National Orchestra set up a season opener with First Dance that sought the boundaries between bravura and contemplation. Under the direction of Antony Hermus and with violin virtuoso Augustin Hadelich as soloist, the orchestra brought a program at BOZAR that ranged from American rhythmics to Slavic depth. Not every composition convinced equally, but the evening ended in pure rapture.
More noise than depth
The evening began with Fountain of Youth (2019) by American composer Julia Wolfe (°1958). This composition, often praised for its vitality and drive, turned out to be more of an explosion of repetitive patterns and rhythmic muscle-flexing language. Wolfe's post-minimalist style, with its motorized pulse and capricious accents, lacked emotional depth here especially. The audience remained visibly unmoved and limited itself to polite applause.
The performance itself was not to blame: Hermus kept the tempo tightly controlled, the precision of the orchestra was exemplary, and the balance remained clear despite the sonic violence. At an opening concert, it may well blast, but this fountain sprayed mostly around without really touching.
Hadelich shone in Dvořák
What was missing in Wolfe, Augustin Hadelich brought abundantly in the Violin Concerto in A major, Op. 53 by Antonín Dvořák (1841-1904). From the first entry it was clear: this would be no demonstration of virtuosity, but of musical imagination. Hadelich's tone – clear, round, deeply felt – let his Stradivarius sing with a naturalness that is rare. Dvořák's concerto – not easy for soloist and orchestra – received a reading that gleamed with naturalness and suppleness.
In the opening section (Allegro ma non troppo), Hadelich sounded virtuosic without effect-seeking, always in service of the musical line. The Adagio was breathtaking: lyrical and intimate, with phrasings that sang like breath. And in the final section (Allegro giocoso), he showed his rhythmic flair, light-footed and playful, without falling into routine.
The interplay with the BNO was particularly tight. Hermus accompanied with great care: he gave the soloist space without pushing the orchestra into the background. Especially the dialogues between violin and woodwinds were beautifully worked out. Dvořák's warmth and refinement came fully into their own.
A lengthy standing ovation followed, upon which Hadelich brought a fascinating jazzy encore. The audience was visibly over the moon. Hadelich proved this evening once more why he belongs to the absolute top of his generation.
Rachmaninov: grand, broken and rhythmically inspired
After the intermission came the Symphonic Dances, Op. 45 by Sergei Rachmaninov (1873-1943), a work that rarely appears on concert programs, but was brought to life here with full conviction. Written at the end of his life, in exile in the United States, this piece is at once reflective and monumental, elegiac and rhythmic – a complex state of mind translated into music.
The BNO showed what it is worth. Hermus chose broad breathing in the first movement (Non allegro), with a careful build-up to the dramatic climax. The second movement (Andante con moto), a ghostly waltz, sounded lightly ironic and full of finesse. The woodwinds excelled here in color and character.
In the third movement (Lento assai – Allegro vivace), in which Rachmaninov interweaves the Dies Irae theme with Russian folk motifs, the orchestra played with impressive energy. Massive, but never ponderous; with crystal-clear articulation in the strings and a powerful, precise percussion section.
Hermus managed to let the many layers of the score breathe beautifully – the underlying threat, the melancholy, the eruptions of violence, the outburst of joie de vivre: everything came together in a performance full of dramatic tension and musical clarity.
Only a pity that part of the audience felt the need to start applauding at the final gong strike. After such an inner journey, the music deserves its silence. Those who truly listened will wait – and let the echo of that last sound still resonate.
A season start with flair and substance
With First Dance, the Belgian National Orchestra proved once again that under the direction of Antony Hermus it dares to choose contrast, innovation and substance. Wolfe's work remained somewhat superficial as an opener, but in Dvořák and Rachmaninov the evening found its full depth and meaning.
Augustin Hadelich delivered a world-class solo performance: technically impeccable, but above all deeply musical. The BNO sounded vital, versatile and engaged – an ensemble in top form. What had begun hesitantly grew into a layered, memorable season start.
We wish the Belgian National Orchestra and Antony Hermus a successful tour through South Korea, and look forward with great anticipation to the next concert in October.
