- Richard Strauss – Jacques Ibert
Don Quixote – The Knight Errant
Amihai Grosz (viola), Jian Wang (cello), Orchester National de Lyon, Nikolaj Szeps-Znaider (conductor).
Symphonic poem conceived in 1896, from “crazy variations”, according to the composer, the Don Quixote by Richard Strauss invalidates the concept of “sad figure” associated with Miguel Cervantes’ hero. This multifaceted score could accompany scenes from silent films, cartoons or even Hollywood films in a spectacular register. Led by a conductor, Nikolaj Szeps-Znaider, who does not fight the instrumental windmills but rather makes them turn with dizzying mastery, the Orchester National de Lyon gives an extravagant performance in the company of the two soloists of great distinction who represent Don Quixote ( cellist Jian Wang) and Sancho Panza (violist Amihai Grosz). More sensitive to the humanity (guitar) and melancholy (saxophone) of the characters, the magnificent symphonic suite taken, in 1952, by Jacques Ibert from knight errant (ballet composed on a plot by Elisabeth de Gramont) ideally follows Straussian magic. Pierre Gervasoni
Channel classics/Outdoor music.
- Edward Elgar
Violin Concerto
Vilde Frang (violin), Thomas Hoppe (piano), Deutsches Symphonie-Orchester Berlin, Robin Ticciati (conductor).
Created on November 10, 1910 in London by Fritz Kreisler under the direction of the composer, the Violin Concerto by Elgar, a work of intense lyricism, is considered one of the most dangerous in the repertoire. Vilde Frang is all the more anticipated there as her exemplary discography (concerts by Prokofiev and Sibelius, Tchaikovsky and Nielsen, Britten and Korngold, or even Beethoven and Stravinsky) is on par with the talent of the Norwegian prodigy, who began her career at age of 12 under the direction of Mariss Jansons. The violinist easily navigates the multiple pitfalls of a score that she performs with lyrical ardor, radiant breath, and dazzling spontaneity. On the lectern, the London conductor Robin Ticciati animates and supports the elegant Berlin lecterns with a perfect sense of color. Also, a short piece from 1913, very expensive (initially for orchestra), whose adaptation for violin and piano (Thomas Hoppe’s delicate) is a marvel. Marie-Aude Roux
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