(Trois-Rivieres) Expectations were high early in concert Saturday, when the head of the Orchestre symphonique de Trois-Rivieres, Jacques Lacombe, said that he could shamelessly present anywhere in the world the concert which we would attend.
Judging from the prolonged ovations in the late evening, we can certainly validate the pride of Maestro Lacombe and share. His concert version of the opera La Traviata was great.
Majestic, but in simplicity while at the head of the honor that year after year, manages to democratize symphonic music without compromising the rigor and quality.
Saturday, he addressed the public with a natural ease and confirming the complicity developed with it, to express how the last appointment of the 2015-2016 season was special for him.
Special because it clôturait its 10th season with the direction of the orchestra, also special because it marked the last concert of the two musicians, harpist Caroline Lizotte and solo trumpeter André Godbout, warmly thanked for their faithful service . André Godbout, coordinator of music education program of the Academy’s Estacades, was a member of the OSTR since its founding in 1978.
Finally, Maestro Lacombe recalled his love of opera when he emphasized his pride in what he was present Saturday evening, a concert which, according to him, would have nothing to envy to those of international capitals – and we know that Jacques Lacombe led in around the world.
He later thanked the soloist taking the lead role, Lyne Fortin, for appearing Saturday despite bronchitis that afflicted. He even used a little humor by suggesting a parallel between Lyne Fortin bronchitis and tuberculosis of his character, Violetta …
Soprano originally from the Islet-sur-Mer was flawless in the incarnation of strength and vulnerability mixture of the courtesan she performed Saturday. His voice was beautiful despite his bronchial infection, and presence on stage just, compelling and engaging.
Like other guest soloists, she avoided the trap of caricature surjeu or intensity sometimes emanating from traditional opera. Setting sober scene helped showcase the musical work, and the use of surtitles in French, on a screen above the stage, facilitated the understanding of the scenario sung in Italian.
Connoisseurs and purists in general may find this superfluous addition didactic, but in my opinion, this overage into the predominant language spoken and understood by the public is part of the democratization of music long associated with the elite.
If one wants to renew the public concert halls, we must allow to move towards simplification (facilitative and non-reducing) while not neglecting the excellence of the proposed product. This is what succeeds in Jacques Lacombe, who also invited the public to applaud as his inspiration, with reference to the malaise on the label prescribed in concert halls.
The orchestra is superb revealed is in the subtlety of his marriage to the air, recitatives, duets and choruses sung. In an operatic context, the orchestra must somehow breathe with the singers become their extension, their complement. The challenge was brilliantly met by attentive and meticulous musicians.
The talented Lyne Fortin was strongly supported by the tenor Newfoundland Adam Luther, who performed a credible Alfredo. What a beautiful voice! At the heart of the main characters called trio, the love duet was joined by baritone James Westman Ontario as well supported role of the father of Alfredo, Giorgio Germont.
Trifluvian tenor Frédéric Martin Larochelle, soprano Geneviève Lenoir and bass-baritone William St-Cyr shared the other roles in this version of La Traviata acclaimed long minutes by the enthusiastic audience a J.-Antonio- room Thompson fills. The work of the choir of the OSTR, led by Raymond Perrin, also deserves to be highlighted.