If the appointment of this twelfth week of our concert book is anticipated, it is because this Thursday evening, the Orchester symphonique de Montréal (OSM) finds in reduced formation the stage of the Maison symphonique.
The presentation, this Thursday at 7 p.m. on the Facebook page and on the OSM website of Divertimento K. 136 Mozart and the Wind serenade op. 44 Dvořák by 26 musicians was possible “thanks to the implementation of a rigorous protocol of sanitary measures developed by the Maison symphonique, in collaboration with Place des Arts and the OSM”, explained on Wednesday Madeleine Careau, head of the OSM management in a press release to its customers.
As M specifiesme Careau, le retour “stems from the Quebec government’s decision, announced on May 22 by the Minister of Culture and Communications, Mme Nathalie Roy, to again allow, under certain conditions, the use of concert halls for recording purposes. “A health guide validated by the Committee on Standards, Equity, Health and Safety at Work and Public Health is expected precisely this Thursday and should ultimately define the terms of public access.
More spectacular, the Amsterdam Concertgebouw revives an old tradition. Before the 2000s, the main audio recordings were made with the orchestra in the hall, all chairs removed. This method had been abandoned since the orchestra was registered in concert, but it is renewed this week, which allows, with distancing, to play a “normal” symphonic repertoire. Under the direction of Gustavo Gimeno, his former timpanist who became music director of the Toronto Symphony Orchestra, the 7e Symphony by Beethoven aired on Wednesday and the 8e Symphony from Dvořák will be tomorrow at 2.15pm tomorrow. It feels good…
From Sweden, we will arrive Friday at 1 p.m. 4e Symphony by Sibelius under the supervision of Daniel Harding. The concert of May 28 with Andrew Manze in Hymns of Händel and the wonderful 5e Symphony by Vaughan Williams is still accessible. No public, which is surprising for an unconfined country which advocates collective immunization.
We must also talk about the new phenomenon: Lunchtime Concerts From Wigmore Hall in London. Filmed and recorded without audience by the BBC, they are a model of what Radio-Canada could and should do here and are already broadcast by seven European countries. Friday at 8 a.m., Pavel Kolesnikov and Samson Troy will play works with 4 hands, including the Fancy of Schubert. Monday, we will hear Steven Isserlis.
Among the archives, starting this Thursday at 8 p.m., Philadelphia will broadcast the 9e Symphony Bruckner by Yannick Nézet-Séguin captured in 2014 and the Metropolitan will put online an archive by the same chief in 2001 directing Angela Cheng in the 1er Concerto by Rachmaninov. Carnegie Hall’s concert this weekend is conducted by Gustavo Dudamel with his orchestra of young Venezuelan musicians, a 2016 recording.
If you were hungry with the Boris Godounov Bulgarian at the end of last week, the Vienna Opera will fill you up from 1 p.m. Saturday with a 2016 performance, very well distributed, with René Pape at the head.
Grand Opera, too rare on the stage in North America, the Freischütz de Weber is broadcast from Friday morning to Sunday evening by the Dresden Semperoper under the direction of Christian Thielemann in a scene by Axel Köhler. This Friday also, the Vienna Opera House gives access to the first version of Fidelio by Beethoven, entitled Leonore. This representation of 1er February 2020 is chaired by the Czech Tomáš Netopil.
Fans of a little more daring staging will venture to test two shows. First the Salome by Ivo van Hove at the Netherlands Opera from 1 p.m. on Sunday. Daniele Gatti directs Malin Byström there. On the other hand, the Magic flute from the very original Romeo Castellucci at the Théâtre de la Monnaie in Brussels. Change of scenery guaranteed, satisfaction not guaranteed!
Finally, for directory discoverers, the essential of the week is The Exterminating Angel by Thomas Adès, which the Metropolitan Opera repeats on Friday from 7:30 p.m.