music
« Concert sur les chants traditionnels de Noël »
Dimanche 22 décembre 2024, l’Orchestre et les chanteurs des «Concerts Hélios » sous la direction de Laurent Ronzon ont présenté en l’Eglise Saint Sulpice à Paris, un programme sur les chants traditionnels de Noël. Les solistes, le chœur et l’orchestre ont conquis le public par leur interprétation remarquable. Le choix des œuvres tout à la fois éclectique et rigoureux a remporté un vif succès. Grâce à l’invitation bienveillante du chef d’orchestre les spectateurs ont pu chanter et ressentir l’esprit de Noël. Bénédicte O’Hara
LIEU - Eglise Saint Sulpice (75006 Paris)
Review by: Bénédicte O’Hara
Date line: Dimanche 22 décembre 2024
Poétique du chant de la cithare
The Chinese cultural center of Paris presented, as a part of their “Joyeuse Fête du Printemps” celebrations, a concert at the Théâtre de la Tour Eiffel on Monday the 5th of February 2024. The concert opened with the full repertoire of instruments and artists to be heard during the evening’s festivities celebrating the Chinese New Year, with the musical accent focusing on solo Guqin zither playing also backed by singing and instrumental accompaniment. The Guqin, “Gu” meaning ancient, is one of the most ancient Chinese instruments. Guqin, formerly known as Qin, also known as Yaoqin, YuGuqin, uxianqin and Lyreqin, is a Chinese plucked instrument with a history of more than three thousand years. It is an eight-note silk instrument.. Eight-tone materials refer to the eight types of musical instruments divided according to the materials they are made of, including gold, stone, earth, leather, silk, wood, gourd, and bamboo. Yang Qing launched the evening’s second offering with a Guqin zither solo entitled “Running Water,” a delicate delightful morsel cleverly evoking memories of gentle currents flowing in the spring. Followed by Yang Nanxiao playing a second Guqin solo “Deep Orchid” continued in the same vein with a floral rear projection paralleling the musical theme. Zhang Ping, accompanied by zither, sang “Drunkenness of the autumn wind” with a soft charm setting the mood for the rest of the evening’s presentations. The titles of each of the ten following music and song delights tells the story of the evenings musical pleasures: “Vainly frozen eyebrows, Qin appreciation of peony, Beautiful spring light, In the mountains listening to the rain, Looking at the Lu Mountain waterfall in the distance,” all to be savored for their delicatesse and respect for the rich Chinese heritage that they shared with an entranced audience. The grand closing of the evening was their rendition of Edith Piaf’s “La vie en rose” sang and played with suitable gusto and charm by the entire cast of singers and musicians, echoed by the delighted audience. To be congratulated: Singers: Liang Ya, Zhang Ping, Lun Yanyan, and Wang Xiaofen. Gugin Zithar: Yang Nanxiao. Chinese lute: Yang Quig, Liu Jingchi. Guzheng: Zhao Yukun, An Ran. Chinese transverse bamboo flute: Ding Ruoql. Bamboo flute: Chen Meiqi Bravos to all! Special thanks to Mr. Liu Hongge, Director of the Chinese Cultural Centre of Paris for sharing the rich musical heritage of China. PKO
LIEU - Théâtre de la Tour Eiffel
Review by: Patrick Kevin O'Hara
Date line: Monday, February 5th , 2024
Conservatoire Erik Satie
Concert 15/12/2022
A delightful evening of Ensembles and Soloists was appreciated by an audience of friends and families, in the concert hall of the City Hall of the 7th arrondisment, on Thursday evening! Notable performances were given by Timothée Pommier (violin), and Louis-Victor O’Hara (piano) of Edward Elgar’s Night Song and Morning Song, Op. 15 (1889-1890). Pommier showed fine sensitivity in her interpretation and O’Hara gave attentive and warm depth to their collaboration. Honoré Yano Ziegelmeyer (violin) and Kentaro Hamada (piano) rendered a fine interpretation of Pablo de Sarasate’s Malagueña. Ziegelmeyer produced a rich vibrant sound on her violin and was supported by Hamada’s mature accompaniment. The evening was capped by an enjoyable presentation of O Tannenbaum by the Wind Instruments of the 2nd cycle under the direction of Kévin Frobert. Congratulations to the Conservatoire Erik Satie, the teachers, and students, and all who contributed to this concert. PKO Review by: Patrick Kevin O'Hara Date line: Thursday, December 15th , 2022 ***************************************************************************************************************************************************************************************************************************************************************************************
Date line: Thursday, December 15th , 2022
VINCENT MUSSAT
Vincent Mussat played a program of Chopin and Ravel, for the inauguration of Pass Culture 10e at the La Scala Paris, on Monday, the 5th of December 2022. The jewel of the evening, performed by Mussat, before the invited audience was Ravel’s Gaspard de la nuit, (subtitled Trois poèmes pour piano d'après Aloysius Bertrand), a suite of piano pieces by Ravel written in 1908. It has three movements, each based on a poem or fantaisie from the collection Gaspard de la Nuit – Fantaisies à la manière de Rembrandt et Callot completed in 1836 by Aloysius Bertrand. The work was premiered in Paris, on January 9, 1909, by Ricardo Vines. The work is considered to be one of the most difficult piano pieces in the classic repertoire. Ravel wrote it as a challenge to Islamey: Oriental Fantasy, which was considered to be the most difficult virtuoso composition in the standard repertoire for piano, by Mily Balakirev. Schonberg referred to the work as “one of the knucklebusters”! Divided in three movements, (I. Ondine, II. Le Gibet, III. Scarbo), Scarbo, with its repeated notes and two terrifying climaxes, is the high point in technical difficulty of all the three movements. Technical challenges include repeated notes in both hands, and double-note scales in major seconds in the right hand. Written in G# minor and based on the poem “Scarbo” this movement depicts the nighttime mischief of a small fiend or goblin, making pirouettes, flitting in and out of the darkness, disappearing and suddenly reappearing. Its uneven flight, hitting and scratching against the walls, casting a growing shadow in the moonlight, creates a nightmarish scene for the observer lying in his bed. Mussat met the virtuoso challenge of Gaspard de la Nuit, with a masterfully rendition of the Scarbo section of the work. Mussat possesses a light almost ethereal touch permitting nuances of a soft cloud of notes without overpowering bravura. His playing of Chopin benefited from his romantic interpretation of a Polonaise, and he delivered a well-received encore of a Nocturne by the composer. Bravo! PKO
A nice example of the Scarbo section:
Date line: Monday, December 5th , 2022