THREE-RIVERS — The Orchestre symphonique de Trois-Rivières celebrated its forty years with a great deal of panache Sunday afternoon in front of a room of Thompson peak. With a concert marked with emotion and a deep sense of pride shared equally between the hall and the stage.
The program had all the ingredients to please the public with its mix of allusions to the past and a perspective on the future quite encouraging. The William Tell Overture by Rossini, under the baton of guest conductor Thomas Le Duc-Moreau, has been a placed in the mouth especially nice. This nostalgic reminder, since this is the first piece that the orchestra performed during its inaugural concert in 1978, had everything to give pleasure to music lovers, the appearance of bucolic, echoing the magnificent outdoor temperature. That said, no one in the room, Thompson has not regretted being deprived of sun for two hours, the orchestra does their leaving no opportunity.
In this festive opening was followed by a highlight not only of the concert but of the history of the orchestra. The return of the prodigal son Antoine Bareil in front of his audience, that we had not seen with the OSTR as a soloist for three years, came to confirm the extent of the feast. The violinist has given the violin Concerto, Barber’s deeply personal. Not only is it a work that he is deeply in love but we felt all along that it has approached under the angle of emotion in spite of its technical requirements.
The room is without a doubt unknown to the general public and Antoine Bareil has done everything to give him a new resonance in the hearts of the audience as he. The work is very accessible and a great beauty, seemed to please the public as much as the very interpretation felt that the soloist he. If the latter has admitted to having been nervous, and nothing has appeared. He even appeared very in control, all his emotion, like the orchestra, seemingly very focused, which gave a scale moving to the mounted drama of this remarkable work. And this, even in the third movement, an undeniable piece of bravery in the form of a fireworks display of virtuosity for the soloist who has never given the impression to struggle even before the terrible requirements of the rhythmic all-in speed.
The public has to be reserved for the violinist the standing ovation that he deserved to give to this element of the program is a single value that has certainly marked the celebration of the anniversary and who will keep a place in the heart of the soloist as he reflected at the end of the concert. “What a beautiful concert, he immediately intimated. Immediately after the opening, one could feel that the audience was really happy to be there. Yes, I was nervous, especially because I don’t play so often as a soloist with orchestra, but I think I can safely say: mission accomplished.”
“I was in the emotion, especially in the second movement and I really felt a wonderful communion with the musicians of the orchestra. I’ve had several comments to the effect that we have all experienced the same thing in this movement. Some have told me that they had wet eyes and I have to admit that in the tutti of the orchestra, it was also my case. For me, there is always something going on with this work and I am very glad to have chosen for this concert. I am very glad to get to know this piece of many, and I really enjoyed the reaction of the public.”
“I didn’t think too much about the symbolic aspect of my presence on the program of the concert’s 40th anniversary, to avoid adding to my nervousness but I admit that it touches me much for being a part of the celebration, and I thank the leaders for giving me the opportunity to shine once more. I am very grateful to them.”
As if that wasn’t enough, the 5th Symphony of Tchaikovsky has sustained the enthusiasm of the audience in the second part of the concert, who was identified as her great blow to the heart during a consultation. The room, romantic and touching, definitely did not disappointed the audience. The orchestra is entirely placed at the service of the musicality of the composer, faithful to all the nuances required by the chief, and which have nourished the emotion of an audience seemingly filled.
It was not the only one. “Really, all the musicians were super concentrated, they responded extremely well, Jacques (Lacombe) was at the top, as Antoine Bareil, gloated, the director-general Natalie Rousseau at the end of the event. The musicians could not give more. We really felt the affection of the public, and the program was really at the height of this anniversary.”
“What I’ve noticed now more than ever, it is the silence. Listening is always good but between the movements, usually, you hear people cough, for example. Today, the silence was total. We felt the emotion, everyone was completely absorbed in the music. It was really terrific.”
“I know that the musicians have also enjoyed. I talked with three who were there eleven years ago when we presented the 5th Symphony of Tchaikovsky in the first concert of James in the head of the orchestra. They remembered how it sounded at the time, and if we compare with what we have heard today, there is a world of difference. Me, I’m satisfied because that was really the maximum that the OSTR can offer. Of course, there have been small glitches, such as when James escaped from his wand, but even there, everyone was extremely focused. I think that all of them were very aware of the symbolic value of this concert.”
As to give an additional element to celebrate, the member for Trois-Rivières, Jean-Denis Girard announced at the beginning of the concert a financial support of 23 946 $ the quebec government to the OSTR, assistance which comes in addition to an equal amount harvested by the orchestra itself. Like what, the celebration of 40 years of the orchestra is more the starting point of the future that the arrival point of the past.