Amid the buzz of New Year's concerts here and there, Mechelen had one with unparalleled allure. With many familiar faces, with a real orchestra of 57 enthusiastic musicians and a conductor versed in many fields, with soloists of the top rank, with a perfect organizer and, as the cherry 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 every New Year a tribute to a 'monument of flesh and blood'.
That is simply Lucienne Van Deyck: a harmonious combination of innate talent, excellent training, hard work, an iron will and equally strong discipline, success at home and abroad, charm, charisma and a treasure trove 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 knows this well. Already in 2004 he came into contact with the singer whom he had always heard mentioned at home with respect. The collaboration became even more intense when he and his wife Charlotte Wajnberg-Cromheeke in 2018 prepared for and successfully completed their participation in the Queen Elisabeth Competition for Singing under her expert guidance. The collaboration continues even now.
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 onto the stage, elegant, not looking nearly 85, and especially moved. In her thanks, Lucienne proudly brought in 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 offered her an enormous bouquet.
The people of Mechelen could have called this highlight and the overwhelming standing ovation "den boekee". But no, it was far from over. They still 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 mouse-quiet hall for a moment in the Vienna of the 19th century.
Orchestra and soloists
But it was a New Year's concert. That began with the popular Overture to 'Die Fledermaus', with sparkling and less sparkling passages. Mozart's Piano Concerto No. 23 was a fine symbiosis of orchestra and pianist Vincent Van Audenhove, who brought it with vigor and verve and very relaxed. Piet Van Bockstal was both conductor and soloist in the 'Fantasia for Oboe and Orchestra' by August De Boeck, long before Aäron became director of the Conservatory. It became a harmonious combination of a typically floating melody and playful elements.
The closing Fifth Symphony of a young Schubert suited the young orchestra, led by concertmaster Chris Janssens, perfectly. And, as in the Golden Hall of the Vienna Musikverein, one could enthusiastically clap along in the cozy, gilded Stadsschouwburg to the always captivating Radetzky March.
