The Orchestre National du Capitole de Toulouse, joined by the prodigy violinist Sergey Khachatryan, performs a program reminding us of Armenia and Russia under its musical director's baton, Tugan Sokhiev.
Tugan Sokhiev, the Russian maestro who is in particular the musical director of the Bolshoi Theatre since 2014, and Sergey Khachatryan, the Armenian violinist – aged only 30, he had already performed under the baton of the most sought-after conductors – gathered on the stage of the Halle aux Grains: which better choice than them to perform Kabalevsky, Khachaturian and Stravinsky?
Colas Breugnon's Overture, firstly performed, had been extracted from the opera composed by Kabalevsky in 1937, itself written after the eponymous novel by Romain Rolland. At the heart of Burgundy of the 17th century, the sculptor Colas Breugnon reminds him of episodes that marked his life. Through a brilliant orchestration, lively rhythms and some parts more "jazzy", Kabalevsky's music leads us crescendo through the adventures of this idealist who loved freedom. Although he had been at the heart of the Russian musical avant-garde, Kabalevsky yet liked tonal music. The composer and musicologist Nicholas Slonimsky declared that this overture was an "euphonic dissonance".
The second work of this concert takes us back to Aram Khachaturian's Soviet Armenia, a few days before Armenian Genocide Remembrance Day, with the Violin Concerto composed by Aram Khachaturian in 1940 (that had been awarded the Stalin Prize in 1941). Indeed, Khachaturian's music seems deeply marked by his folkloric origins, remarkably highlighted under Sergey Khachatryan's bow. The violinist declared to Marguerite Haladjan in an interview: "Khachaturian's Concerto awakes in me feelings related to my childhood in Armenia, to which I am very attached, and that inspired to Khachaturian his most beautiful scores."
The orchestra finally performs Stravinsky's Petrouchka in his 1947-version. Contrary to the 1910-version that had been composed in the idea of its staging as a ballet, the 1947-version had been composed for its performance in concert, in particular with less instruments. However the musical themes remain similar, and we find in it the composer's willing that he explained in his Chronicles: "In composing the music, I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggi."
Robert Lepage (stage director), Kazushi Ono (music director) – With Laura Claycomb (Anne Trulove), Andrew Kennedy (Tom Rakewell)...
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