Brussels Museum of fine arts 02/06/2008 - Franz Schubert:  Opening “in the Italian style”, D. 591 Wolfgang Amadeus Mozart:  To questo sono, deh vieni, K. 374 –
Walks, K. 320A [335] – Ah, the previdi, K. 272 Ludwig van Beethoven:  Symphony n° 4, opus 60

Olga Pasichnyk (soprano) National Orchestra of Belgium, Theodor Guschlbauer (direction)

The history of the Concerts of Noon of Brussels is not linear.  In 1940, thanks to Charles Leirens that inspired itself concerts of noon of the National Gallery of London, took places to the Museum of Old Art of the musical meetings during the hour of table but the war decided otherwise course of the things.  It is only from January 1948 that the concerts had again place, and this thanks to Sarah Huysmans that dut nevertheless to do facing a constraint well earth-to-earth that delayed the return: that said Concert of said Noon lunch, now, shortly after the armed conflict that bloodied Europe, Belgium was subjected to a rationnement rather strict, so well that it was not Sufficient of music-loving ones to the occasion of these demonstrations. 

Sixty years after, the Concerts of Noon carry themselves always well – even if the average of age of the public seems to increase inexorably –, these demonstrations, bathed of an outdated delicious perfume, having aujourd’hui place on Wednesdays in the public Studio Carel and Gilded van Creveld of the Museum of fine arts, baptized in homage to the one that some was the president of 1955 to 1999.  And it always is possible to restore itself for a modest price before or after the concert to the adjacent buffet to the room…

This anniversary concert does not reflect totally politics of the programming of this honorable one of Brussels institution, placed under the high patronage of S.M. the Queen Fabiola, the accent in fact being put on the room music.  But the occasion to hear in the middle of the week on the noon time a symphonic formation, furthermore the National Orchestra of Belgium, is not current, also not it is astonishing as the public replied massively present. 

The opening “in the Italian style” (1817) of Schubert gives the tone, the musicians caring for their interventions and the together being driven with effectiveness by the Viennese boss Theodor Guschlbauer.  Separated by a Market (1779) destined to accompany the Serenade “Posthorn”, the two airs together HAS questo sono, deh vieni (1781) and Ah, previdi (1777) of Mozart benefit from the talent of Olga Pasichnyk, Third Price of the Competition Queen Elisabeth 2000 – the presence of this Ukrainian soprano reminder besides the narrow collaboration between the Concerts of Noon and the competition.  Lived, just benefit of your and to the expressive register varied of an accomplished mozartienne and to the admirable vocal means. 

The traditional, wise approach and without bad surprised Guschlbauer in the Fourth Symphony (1806) of Beethoven fully satisfies.  The rhythms are printed with harshness, the music advances without leading, the bends are sveltes and the power as well as the energy do not do defect.  On time babies bosses, it would not be necessary to forget that the old ones have again things to say us in the catalog pillars. 

Sébastien Foucart

Mélodiste and distinguished sayer in the art of the lied, the French mezzo Sophie Koch, student of Jane Berbié to the Cnsm of Paris (after a passage flash to the school of the Opera), asserts itself today on the European scenes, while diversifying its psychological portraits, dress up (The Komponist in Ariadne auf Naxos, that the revealed to the TCE to Paris in 2001), or feminine (Dorabella in Cosi fan tutte of …  Margared in The King of There of Lalo, October 2007, Capitole of Toulouse).  Ample and powerful voice, to the again perfectible joint, the singer seizes nevertheless listens it thanks to his dramatic engagement.  This is this vocal implication that him permit to begin his career to London, to the Covent Garden from 1998 (Rosine of the Barber of Seville of Rossini. ..).  The future productions elaborated by the next director of the Opera of Paris, to the horizon 2009, Nicolas Joel, we should allow hearing it uniformly… 

In February 2008, the mezzo offers a recital with the pianist Sophie Raynaud, to the Theater Marigny to Paris, to the profit of the association Coline in ré.  The profits produces by this musical evening will be transferred to The hope Chain that supports to the international one the sick and disadvantaged children.  To the program: airs of operas and signed melodies Mozart, Meyerbeer, Schubert, Berlioz, Liszt, Ravel, Poulenc, Bizet, Offenbach.  Next disc to come in March 2008 with Cascavelle: lieder of Richard Strauss with Philippe Entremont, piano. 

Paris, Theater Marigny.  Recital of Sophie Koch.  Monday February 11 2008 to 20H.  Evening to the profit of Coline and Ré and Chain of the hope. 

Some years ago, the symbolic director of the national Center of lyric artists (CNIPAL) Gérard Founau, about the recruitment of its “students” (17 currently of which 10 foreigners) pointed out me:  “If one has trouble to have ténors, one has some again more to have low”.  Useless to say that it appeared me very happy to the coming from the first recital of three of these young people, while learning me that there were some two in the new promotion (of which a good party, we offered, a little later, a pleasant one “concert of Christmas”).  And it added with pride:  “And of equal talent”.  This talent, one in had a proof with the benefit of Nika Guliashvili programmed with two others interpret (an “hour of tea” misogynous: in reality, their feminine foreseen partners had had engagements to the exterior one) and a pianist Nino Pavlennichvilt, very appreciated in the ungrateful role of accompanist that, in addition, conferred a lot of brilliances to the opening of The magpie thief (Rossini).  All sharply being applauded by the numerous public that had not left, in the home of the Opera, any empty seat.  Thus, the three categories of masculine singers fortunately were represented.  The baritone (type more current), this was with Alec Avedissian giving, in particular, a lot of charm to the serenade of the Gift Giovanni of Mozart; to the enticing stamp, to the supple phrasé, to the perfect style in the opera as in the melody.  The ténor, this was Xin Wang, embodying superbly, among others, the melancholic hero of the of Arles one (Cilea), especially remarkable in muted colors, vocalize them, the nuances of the line of song, the transmission ease; his sharp request to become more “polite”.  The Bulgarian one and this Chinese returning, in an impeccable, articulated French as it is it rarely even by our compatriots, the famous duet of the Fishermen of appears, appropriating itself really the score of Bizet.  At last, that to say of this low one?  Sumptuousness, consistency, volume, power, voice length, and which mastery in the interpretation!  Which in fact already the equal one of the prestigious colleagues and elder of the Georgian Guliashvili (often besides Slavs as him).  Brief, ideal, that this be for the Mozart as for the Rossini and Turned greenen.  Yes, once more, the director of the CNIPAL (and his team) did actually “the good choice”. 

It was Sunday evening the ninth annual hearing of the Requiem of Mozart climbed by Michel Brousseau.  His orchestra says “Philharmonic” counted only 30 musicians, but the choir carrying the same ambitious name took on two other choral formations for a big total closely of 200 voices. 

An audience more considerable, more largely younger and more surprisingly more attentive, filled the basilica Our Lady.  Certain will persist themselves nevertheless to repeat a little everywhere that “the classical music dies itself”. 

The ultimate one and unfinished Requiem is not the work more representative of Mozart since it is not of him than in left.  This is not not more a very long score:  50 minutes about.  Two good reasons that call the addition of another Mozart.  Sunday, Mr. Brousseau added, at the beginning of programs, the Concerto for two pianos. 

The two pianists came from Sicily, where Mr. Brousseau will go the next summer with his choir.  “Cultural exchanges” visible?  Maybe.  For the moment, here two pianists that play with a voucher together and that play Mozart with a certain taste, except for a slow movement of an improper slowness. 

The extremely quick tempi adopted for certain parties of the Requiem - for the Said irae, for example - were more justified.  Memory leader, the boss there sacrificed not never the clarity and neglected for as much the meditative episodes.  To signal, the quality of high voices (sopranos and ténors), so often a problem with the choirs, amateurs or no. 

Mr. Brousseau brought back us alas! the enough any soprano of the last year, in red blinding, flanked this time of our very low-cut Julie Nesrallah that one imagines in Amnéris of Assistance rather than to the church.  More of abstemiousness of the masculine side: sweet ténor with Figueroa, harsh stamp with Butcher.