Orchestre de Chambre de Lausanne, Renaud Capuçon
A distant tribute to classical style, the unrestrained and subtly ironic vitality of violin virtuosity, enchantments of symbolist drama and childhood magic: it is through a kaleidoscope of shapes and colours that Renaud Capuçon leads the Swiss ensemble.
In homage to the spirit of Haydn, Prokofiev’s "Classical" symphony (1918) manages the fascinating mix of incisive modernity and the neat rhythmic order, sense of stature and gallantry of the 18th century. Renaud Capuçon’s bow next takes flight in the delicate concertante romance, based on a forgotten aria by Benvenuto Cellini, in Rêverie et Caprice (1840) by Berlioz, before losing itself in the devilish mischief of Ravel’s Tzigane
(1924): all aspects of violinistic virtuosity are brought together here, in unbridled improvisation (albeit written) in this irresistible rhapsody. We continue with Ravel, whose childlike spirit reaches the heights of poetic imagination in Ma mère l’Oye, which balances fairy tale and enchantment, radiant simplicity and sly meandering, familiarity and exoticism, in the shimmering tales – at times reassuring, at times anxious – so dear to the composer. Transposed to the stage, Maeterlinck’s symbolism reveals the fecund poetry of Faure’s suite from Pelleas et Melisande: beyond the splendid Sicilienne, we are delighted here by the colours of the oboe, and the infinite delicateness with which the composer, ever modest, suggests the tragedy.
Orchestre de Chambre de Lausanne
Musical director and violin Renaud Capuçon
Rêverie et Caprice
Suite from Pelleas et Melisande
Suite from Ma mère l’Oye
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