east & west...
a scintillating Boston Pops debut...a thoroughly engaging, mostly French recital in Orange County (CA)...an exuberant opening night concert at the Hollywood Bowl
photos 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.|
[Note: Mr. Thibaudet's second performance of Ravel's Piano Concerto was telecast on PBS in the summer 2003 series of "Evening at Pops."]
AND ON TO THE WEST COAST...
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"
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.|
AND 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 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."
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
Turangalîla Symphony at Carnegie Hall with Christoph
Eschenbach and the Philhadephia Orchestra].
photos taken at: Orange County Performing Arts Center and the Hollywood Bowl
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