With the renowned Bach Festival in Montreal fast approaching, the composer’s aura is already palpable: this past Friday, November 7th, Les Violons du Roy presented a highly thematic concert (Bach Lessons) at Salle Bourgie. Under the direction of conductor Bernard Labadie, who stepped in for his colleague Robert Levin, the original program curator, we were treated to a concert worthy of the orchestra’s reputation.
Indeed, pianist Inon Barnatan, stepping in at the last minute for Robert Levin (who was also scheduled to perform as soloist), captivated us with his mastery of a complex and demanding text, particularly in the Concerto in D minor, BWV 1056, which concluded with an immediate and enthusiastic ovation. Despite several phone calls being interrupted in the hall, the pianist’s committed approach to the meticulously orchestrated performance was an experience in itself.
A welcome approach in the world of Bach, which demands not only rhythmic precision and impeccable intonation but also a physical dialogue between sections. The galvanizing energy of the soloist and his musicians was transmitted to the audience from the very first notes of the allegro. This synergy continued in the Concerto No. 5 in F minor and its famous Largo, a work of delicate detail and profound emotion.
The sentimental value is also found alone with the Italian Concerto BWV 97, revealing a pianist alone on stage who pours out a stream of notes without error and above all without losing character or precision under the difficulty of the text.
The concert began with excerpts from The Art of Fugue, a fine opening for the orchestra, which showcased a unified sound under a conductor who was very close to his musicians. The cello’s entrance in Contrapunctus II was particularly memorable, as it soared over the flow of the first movement without interrupting the violins’ delicate touch. Beautiful waves of nuance were also found even in the more technical and acrobatic passages of Contrapunctus IX, made possible, in part, by the dynamic presence of first violinist Katya Poplyansky.
She and her section offer a very high-quality sound, and in Offrande musicale, she conducts a very fluid conversation of the melodic current, which could often result in a breathless, strained performance. On the contrary, we observe a light and highly focused interpretation.
In short? A flawless performance from Les Violons du Roy, who nevertheless had to adapt to changes in direction and soloist, and an impeccable performance by soloist Inon Barnatan that won over the entire audience. See you on November 22nd for the chamber orchestra, which will be performing Vivaldi under the direction of Jonathan Cohen.
