Monte Carlo, 6th April 2024
Orchestre Philharmonique de Monte-Carlo, Marie-Nicole Lemieux, contralto, Pene Pati, tenor, Kazuki Yamada, conductor
For its 2024 edition, the Printemps des Arts de Monte-Carlo was entirely dedicated to The Song of the Earth, with a broader significance than just the title of Gustav Mahler’s final completed work. Under the direction of Bruno Mantovani, marking his third edition, the festival has explored through a sharp, eclectic, and original program, questions such as the climate crisis and the evolution of our planet. This ambitious endeavor was successfully achieved with a level of rigor to which Bruno Mantovani had already accustomed us.
For the penultimate day of the Festival, The Song of the Earth in its version for large orchestra was performed, following a previously scheduled version for chamber orchestra. The large local orchestra, the Philharmonique de Monte-Carlo, was under the baton of its conductor, Kazuki Yamada, marking his first interpretation of The Song of the Earth. The invited soloists were the renowned contralto Marie-Nicole Lemieux and tenor Pene Pati, whose career is beginning to soar.
The Song of the Earth, like the Sixth Symphony, is one of Mahler’s works whose interpretation is sometimes excessively gloomy, dark, and hopeless. We all have in mind the historical and poignant interpretation of Kathleen Ferrier, to name just one; but this work offers many other facets, which Kazuki Yamada highlighted in a version marked by light, love, and gratitude. The six lieder, ideally characterized and contrasted, thus defined a path, a journey, which everyone could follow to the sumptuous Abschied. One of the striking points of the Japanese conductor’s interpretation was his use of silence: imperceptible pianissimi, subtle fading of notes, creating a continuous play of light and shadow, particularly harmonious. This remarkable work was made possible by an attentive and precise orchestra, and a respectful audience.
Regarding the soloists, Pene Pati’s powerful performance in the first Trinklied initially raised concerns about a potential lack of nuance for the rest, but the subsequent two lieder were quite successful, especially the third, Von der Jugend, where the conductor highlighted all its subtlety. Marie-Nicole Lemieux’s entry in Der Einsame im Herbst was immediately gripping: intelligence of text and phrasing, expressive narrative, impressive dynamics. The chemistry with the conductor (especially in the most successful Von der Schönheit) never faltered until a fascinating and moving Abschied from start to finish, overflowing with gratitude and absolute fullness.
The concert concluded in silence, with a few suspended seconds during which the audience and performers shared a palpable emotion. In such moments, one understands why we attend concerts…
Hervé Le Guennec
