Monday April 24, 2017 12:28 am


YOUR GATEWAY TO OPERA AND CLASSICAL MUSIC
FANFAIRE celebrates JEAN-YVES THIBAUDET
JOIE DE VIVRE personified!

EAST WEST 2003

a scintillating Ravel Piano Concerto in G at his Boston Pops debut…a thoroughly engaging, mostly French recital in Orange County (CA)…and an exuberant opening evening concert at the Hollywood Bowl

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Jean-Yves with Boston Pops Conductor Keith Lockhart / photo courtesy: Boston Symphony Orchestra, © Michael Lutch

“Boston University Night” in the Spring of 2003 marked Jean-Yves Thibaudet’s debut with the Boston Pops. Mr. Thibaudet, of course, is no stranger to Symphony Hall. He has been here more than once before, dazzling Boston’s serious music lovers with his now famed virtuosic performances. But a Boston Pops concert is a more social event and attracts a slightly different audience: easy-listening concert-goers who enjoy having their music served up with food and drink.

How would serious concert fare such as Ravel’s Piano Concerto in G play to such an audience, we wondered. If the Boston U Night concert was a good indicator, very well indeed! The party-like atmosphere (perfect for the evening’s other musical entrees – Offenbach’s Overture to “Orpheus in the Underworld,” Gould’s American Symphonette No. 2, music from the film “Cinema Paradiso,” and hits from the Broadway musicals “42nd Street” and “Chicago”) did not detract from one’s enjoyment of Ravel’s music, clearly because Thibaudet was totally uncompromising in his artistry.

Wearing an unconventionally stylish black silk jacket (not leather as many thought), he delivered – with his customary panache. His nimble fingers raced across the keyboard, unfolding a brilliant panoply of sound and color – from the jazzy Gershwinesque first movement (at times pointillistic and dream-like, and finally rhapsodic), through the nostalgic melody of the slow and lengthy second movement, to the almost unrestrained rapidity of the short third movement.

It was a masterpiece of Ravellian jazz and lyricism exquisitely played by soloist and orchestra under the very able direction of Pops maestro Keith Lockhart – to the audience’s great delight and a standing ovation. The concert also showcased Boston U’s 2003 music competition winner, student Dainius Puodziukas, who played the first movement of Tchaikovsky’s Violin Concerto with warmth and sophistication.

Jean-Yves’ second performance of Ravel’s Piano Concerto was telecast on PBS in the summer 2003 series of “Evening at Pops.” Watch a video:

jyt ravel gconcerto 1st

jyt ravel gconcerto 1st

jyt ravel gconcerto 2nd

jyt ravel gconcerto 2nd

jyt ravel gconcerto 3rd

jyt ravel gconcerto 3rd

THEN ON TO THE WEST COAST…
 

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After-concert photos taken in Orange County and at the Hollywood Bowl

IN ORANGE COUNTY

A few days later, Thibaudet was onstage at the Orange County Performing Arts Center in Southern California for a programme of PURE THIBAUDET! Replacing an indisposed Mauricio Pollini, he first serenaded the audience with familiar Chopin pieces – nocturnes, etudes, waltzes and preludes played with admirable subtlety and delicacy, and then proceeded to give a masterful accounting of the French repertoire. He traversed progressively unfamiliar territory as he went from Debussy to Satie and finally to Messiaen – with technical precision, clarity of tone, purity of emotion – amazingly, without losing the audience. Thibaudet gave physical meaning to the mostly abstract titles of three of Debussy’s Etudes: “For Chromatic Steps,” “For Compound Chords,” “For Octaves” and SATIE’s inventive pieces: “Gymnopedie No. 1,” “Gnossienne No. 7,” and “The Dreamy Fish.”

The evening’s piece de resistance was “Regard de l’Eglise d’Amour,” (Contemplation on the Church of Love) the final piece from Messiaen’s monumental “Vingt Regards sur l’Enfant Jesus,” (20 Contemplations on the Infant Jesus), now becoming less of a rarity in American concert halls because pianists such as Thibaudet have added the work to their repertoire.

It is a daunting piece for the pianist because of the piece’s technical challenges, as well as for the audience because of the elements of dissonance and atonality inherent in contemporary music. But Thibaudet infused his playing with abundant color and an intensity of spirit that made Messiaen’s transcendent music of the spirit soar. The audience listenened – enthralled, and rewarded him with a long standing ovation. He graciously reciprocated with three encores: Liszt’s transcription of the hauntingly beautiful “Liebestod” from Wagner’s Tristan und Isolde, Debussy’s lyrical L’isle Joyeuse, and Duke Ellington’s rapid-fire “Jubilee Stomp” which again brought the audience, cheering, to their feet.

AT THE HOLLYWOOD BOWL…

…where he opened the Bowl’s 2003 classical season as guest soloist, with guest conductor Andreas Delfs conducting the LA Philharmonic Orchestra. This time he showcased LISZT’s Piano Concerto No. 2 in A major, less familiar but a virtuoso piece just the same. Like LISZT’s FIRST (which Thibaudet has played in concert well over a hundred times, at least), the Second is a concerto in one movement; unlike the First in which four disparate themes define the concert’s muted subdivisions (equivalent to the movements in a symphony: allegro-adagio-scherzo-finale), the Second is less discernibly structured and plays out as a magical, free-flowing transformation of a melody into many subthemes. Thibaudet’s playing as always revealed his affection and respect for Liszt, and the effect even in this acoustically less than perfect setting was both kaleidoscopic (light striking bits of glass forming an endless variety of patterns often bursting into a riot of colors) and elegant. Bookended by a festive Prelude to Wagner’s Die Meistersinger as the opener and an exuberant Beethoven’s Symphony No. 7, it made for a truly colorful opening night of “Symphony Under the Stars 2003.”

[Mr. Thibaudet began the 2003-2004 season in the opposite direction - West (where he opened the San Francisco Symphony season with Tchaikovsky's Piano Concerto No. 1 in a gala concert that was jarred by the blare of a false fire alarm that interrupted Stravinsky's Firebird) to East (where he performed MESSIAEN's Turangalîla Symphony at Carnegie Hall with Christoph Eschenbach and the Philhadephia Orchestra].

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