I had to get this off my chest: I absolutely hate concerts and performances that start late. Being on time and starting on time is a matter of politeness. At deSingel they try to maintain strict adherence to this. This New Year's concert started punctually, a fine start for a new year that sets an example to follow.
Symfonie Orkest Vlaanderen ushers in the year festively with a tribute to Leonard Bernstein, who would have reached the age of one hundred 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 classical compositions to the general public in an amiable manner. He combined provocation with charm. Dirk Brossé had the good fortune to meet 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: trumpeter, successful composer and respected conductor on the international music scene. There is certainly a kinship of souls 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 period. This as a tribute to the pacifist ideals of his idol Bernstein. 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 more interesting music as a counterbalance 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 are as essential to a New Year's concert as salt and pepper are to a meal.
PART 1
Maestro Dirk Brossé does not take the stage smartly dressed in a suit, but in a loose-fitting long Indian shirt, a kurta, which gives him plenty of freedom of movement. Before the intermission, the versatile oeuvre of Bernstein, well-known and lesser-known pieces, is performed. Beginning with the sparkling Candide Overture and Suite (1956), full of variety and colour. Followed by Divertimento which Bernstein composed in 1980 for the centennial 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 and C, which stand for Boston and Centennial. This resulted in a rich and differentiated composition, in a succession of a couple of powerful character pieces. Difficult to play given the complex structure, but Brossé guides the orchestra through it with finesse. At times purely 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 of note, Elia Kazan. Writing film music is perhaps one of the most difficult disciplines. The music sometimes has to be almost unconsciously present and at other times predict, support or intensify the action. Completely in service of the visual material. Dirk Brossé chose the magnificent Presto Barbero, a transcription from this suite for brass, percussion and piano. Impressive. Then the maestro brings on young soprano Katrien Baerts. A young lady with quite a few credentials already. She reached the semi-final of the Queen Elisabeth Competition, among other achievements. The first song she performed was I Feel Pretty from West Side Story: young, desired and beloved, which has meanwhile become part of collective memory. But she really shone in the aria Glitter and be Gay from Candide. Herein Cunegonde hides her grief over the war that has torn apart her family behind laughter and feigned cheerfulness. Katrien Baerts warbles like a lark, conceals herself behind a sparkle of foolishness, flirtatious, sensual, reaches the highest note with great agility of her voice, and switches swiftly from euphoria to sorrow. An exceedingly difficult part, in which she demonstrates phenomenal vocal control with the greatest ease. Like a pearl set in music. She won over the audience one, two, three times. 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 palette of colours: dynamic, relaxing and uplifting.
The composition of this New Year's Concert is not entirely without commitment. 2018 is also the end of W.W.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 not many 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 grief of a mother. Katrien Baerts performs in a poignant manner I didn't raise my Boy. A melody as moving as the silent images of Käthe Kollwitz, the deep sorrow and dejection of a mother who loses her child. A trauma or a wound that does not heal. Even in this state of mind she knew how 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 cautiously blooming with faith in a peaceful future. This New Year's Concert was concluded with four waltzes: Straussiana by Erich Wolfgang Korngold. This Austrian composer had to flee to America in the interwar period. He enjoyed especially great reputation 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 a final chord Dirk Brossé transformed the Radetzky March by Johann Strauss sr. into the Radetzky Waltz with new daring harmonies. You find each time points of contact with the march version but smoothly the composition each time takes another surprising turn. An impressive example of composition technique.
Conductor, soloist and the Symfonie Orkest Vlaanderen were treated to minutes of applause. This was followed by a tasteful 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 January in the Muziekcentrum de Bijloke Gent and Sunday 28 January in CC De Spil Roeselare both 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
