Rehearsal with Maxim Vengerov - Palace Hall - 06.09.2009

......I love music. And because I love music I have friends that work in this field. And this particular friend helped me getting in the Palace Hall on Sunday morning to attend the rehearsal he had there. I had one reason to go there. The conductor was Maxim Vengerov. I have a great admiration for him. Both as violin player, before his injuring his arm and after, when he decided that he'll go on as conductor.
......It's not the first time I attend an orchestra rehearsal. The hall (more than 3000 seats) was empty as you'll see in the pictures. You have the feeling that they're playing just for you. You get a special concert before the big one (which by the way will take place Tuesday, September 8th 2009). Eveybody is relaxed (maybe too relaxed) and try to know the conductor, to find out what he wants. They'll perform 3 pieces:

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1. Beethoven – Overture "Leonora III" op. 72a

2. Beethoven – Triple Concerto for piano, violin, cello and orchestra in C Major op. 56

3. Beethoven – Symphony no. 5 in c minor op. 67
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......First of all they played the ouverture from beginning to end, to accommodate with it. After that the conductor started practising some fragments considered to be more difficult. Then they moved on, to the 5th Symphony. The Concert was to be rehearsed the day after, with the soloists (Alexandru Tomescu - violin, Horia Mihail - piano, Razvan Suma - cello). This takes time. One hour, two hours, three hours, with 25 minute break. Some nerves from the orchestra but Vengerov managed to keep them calm. It's amazing how he can deal with so many people that have a very strong ego. He can't argue or accuse, even if there is still a lot of work to do. He can just tell them what to do, how to do, practise again and again ... after that moving forward to another musical moment and start all over again. Ther is not a particular order of the fragments to be rehearsed. He decides what's next and informs the orchestra. "Go to part 3, bar 22" or "3 bars after C".

......These are some details that fascinate me. Because I didn't go there just to listen to the music. For this I'll go to the concert. I went there to see how he's thinking and what's he doing with the score. I was brought the score of both pieces. But the one that Vengerov insisted on was the Symphony. The score(the book) is small. At first sight you'd say "what? this contains 50 minutes of music?". Yes, sure. It's actually easy to read once you get used to it. The only problem is that the music moves very fast and you have to keep track in order not to stay behind. On each page there are notes for each instruments, starting with the flute on top of the page and ending with the doublebass. At the left side of the page the bars have numbers. It's easier to say "go to bar number "x". There are also letters, like A, B, C (and like in army "C" is Charlie, "D" is delta - for better understanding). So "3 bars after C" means 3 bars after the one that bears the letter C. See, it's easy. "One, two..." and they start. The conductor has firm gestures. He keeps the beat a little bit before the orchestra in order to announce what's next.

......The score is the same for everybody. What makes the difference are the small details written or not on the score. You have there "f", "ff", "p" and so one which are the nouances (forte, fortissimo, piano) but it's about when and how you use them for each instrumet. This is what makes a difference between conductors and orchestras. It's the vision. But before reading what's next, take a few moments to listen to the first part of the 5th Symphony.
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......My friend Sandra was there with me. She wrote a few thoughts about this rehearsal. Below there's what she wrote. Please use Google Language for translation as it's in Romanian.
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Repetitie cu Maxim Vengerov
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......În tricoul negru mulat şi blugii strânşi cu o curea lată, Maxim Vengerov aduce mai degrabă a sportiv de performanţă decât a unul dintre cei mai mari violonişti ai lumii. Stă pe un scaun de contrabas aşezat pe podiumul din faţa scenei de la Sala Palatului şi explică Filarmonicii „George Enescu” cum ar trebuie să sune Simfonia a V-a de Beethoven din programul festivalului Enescu.
......Maxim Vengerov dirijează, aşa cum a făcut mai ales în ultimii doi ani, de când a suferit un accident la umărul drept. S-a mai aflat la pupitrul filarmonicii bucureştene pentru două concerte în mai 2008, după ce cu un an în urmă şi-a anulat concertul pe care trebuia să-l susţină ca violonist în programul festivalului Enescu. A fost invitat din nou la Enescu, de data aceasta pentru a dirija spectacolul ce inaugurează seria de concerte susţinute la Sala Palatului în cea de-a XIX-a ediţie a festivalului internaţional, marţi, la ora 19.30.
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Indicaţii cântate
......Explicaţiile lui Vengerov nu vin în cuvinte, ci în sunete puse pe silabe: ta-ra-da-ra-da, pa-pa-pa-pam, tu-cu-tu-cu-tu, rostite aşa cum ar trebui să articuleze instrumentiştii sunetele. Comunică mai uşor aşa cu o orchestră cu o medie de vârstă peste 40 de ani, căreia i se adresează într-o engleză cu accent rusesc. Le spune să facă legato „as smooth as possible” la măsura 115, violonceilor le cere „real forte” în măsura 105, iar pentru a le demonstra cum să articuleze cu stânga iar cu dreapta să facă „real legato” le cântă, din nou.
......Din când în când îl întrerupe concert-maestrul Anda Petrovici, nemulţumită că nu e suficientă lumină pe scenă, că instrumentiştii „se aud ca şi când merg pe gropi” şi nu sunt împreună „de niciun fel”. Şi traduce indicaţiile dirijorului care „nu aude prima notă” la viole, „aude o bâlbâială”. Vengerov cântă violiştilor cum să articuleze notele din pasajul respectiv şi-i pune să repete de câteva ori. Instrumentiştii de pe rândurile din spate încep să caşte. După ce dirijorul se declară mulţumit de rezultat şi vrea să continue lucrarea, intervine concert-maestrul. „Deci, concluzionez: contează prima notă, restul nu contează dacă iese, prima dă armonia”. Uneori mai face şi confuzii între limbi, „nu sunteţi together”, alteori vorbeşte peste dirijor, de multe ori atacă notele cu o fracţiune de secundă înaintea orchestrei al cărei şef este.
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O dată, de două ori, de patru ori
......Orchestra reacţionează greoi la indicaţii. Vengerov lucrează un pasaj cu violoncele şi le cere un singur lucru: să articuleze bine. La a patra încercare, instrumentiştii primesc un „lovely” din partea dirijorului. Acelaşi rezultat şi pentru un pasaj în care le cere contrabaşilor să nu mai întârzie intrarea, pentru că se decalează de violoncele. La a treia repetiţie le iese „super”.
......Înainte de a termina repetiţia de duminică seară, a doua din programul filarmonicii tocmai revenită dintr-un concediu de aproape două luni, Vengerov le-a cerut instrumentiştilor să revină toţi şi la cea de luni, pentru care erau programaţi iniţial doar suflătorii şi percuţioniştii.

Citiţi şi
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article3666430.ece
http://www.cotidianul.ro/maxim_vengerov_romanii_fac_muzica_in_freestyle-47206.html

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......This is the Palace Hall. It's called like this because it's behind the former Royal Palace that now hosts the National Art Museum. It was built during Comunist times in order to host large gatherings. Now it's used as concert hall, both for pop and classical music. A lot of the concerts during George Enescu Festival take place here.

He might say here "Easy.... easy... listen to the others....you're not alone here"


"Come on... feel the music..."

"Ok, let's move on to..."




The score
The last 5 staves on the page belong to the strings. Violin I and II, viola, cello and double bass.
The double basses resting during the break

And here we go again. This time with the first part of the Symphony. This 5th Symphony is very well known and the beginning has to be perfect otherwise it ruins the whole thing.

View from the "top" of the hall.

This is the first page of the 5th Symphony

Bye, bye! See you on Tuesday!

......And now, for the sake of comparison, liste/watch to the following videos. The first part of the 5th Symphony conducted by Karajan, Barenboim and Dudamel. Can you notice the difference? Listen again and you'll hear it. How they sing it makes the difference.

1. Herbert von Karajan - 1966

2. Daniel Barenboim - Berliner Philharmoniker

3. Gustavo Dudamel - Simon Bolivar Youth Orchestra

......This is where this amazing experience ends. Hope I made you curios to see one of these rehearsals live. Or if you can't get to one, go to see those "lectures before the performance". You'll understand the piece better, trust me. My only wish now is to attend an opera rehearsal. I'll see about that too, in the close future.

"Firebird", the first communitary dance show in Romania - National Theatre, Bucharest - 05.09

......100 Romanian young people from Bucharest, Brasov and Sibiu are part of a project involving dancing. They come from different environments, some of them ar orpahns, some of them have some disabilities, but they are all conected by the wish to do something beautiful. This is the first project of this type that is done in Romania. The show is part of Enescu Festival. And it took place at the National Theatre, on September 5th. I couldn't attend as I was at the Opera House. But I attended the general rehearsal in the morning. They have another show in Sibiu, on September 9th.

......The young people involved are between 8 and 22 years old and they had no connection with dancing before joining this project. They were gathered in Bucharest and trained for a month under the supervision of Royston Maldoom (Great Britain) and Josef Eder (Germany) and their assistanrs Marta Hincapie (Columbia), Irina Roncea si Oana Rotariu (Romania)
......This is not the first project of the famous British coreographer Royston Maldoon. I saw another project. It was also communitary dancind but it involved 250 young people. It took place in Berlin, in 2006, under his direct supervision and in cooperation with Simon Rattle and Berlin Philharmonic Orchestra and using "Le Sacre du Printemps" by Stravinsky. The name of the project is "Rhythm it is" and you can see the trailer here. I saw almost the same thing today, on stage.
......This project also has a beautiful website with lots of information. Click here to see the promo video and after seeing it, see also the pictures posted on the website. I couldn't take pictures during the rehearsal because there were a lot of underaged people on stage. For their protection, nobody took photos.

......I was impressed. Very impressed. It's amazing how a few people managed to induce the idea of making art, of creating beauty, to a group of 100 young people that have never danced before. And they did it so well. The music is impressive (Fire Bird by Stravinky) and allows your mind to fly, to imagine all sorts of things. What I was like a dream, the dream of a small child. I hope they liked what they did there. I would certainly recommend to see one of these projects. There are some videos on You Tube. I found the followings: 1, 2. Enjoy!

Oedipe reloaded_reviews in the Festival's Journal_02.09.2009

......I liked it so much that I went to see it again, 3 nights later. September 2nd. Same production. The only difference was that the title role was performed by Stefan Ignat. So all the cast was Romanian.
......This evening I wanted to pay more attention to the music because it's not the kind of opera music I'm used to. I think I like it more and more. I would like to see another production. To see if the sets can influence how I felt in any way. This set was still and grey. In fact, everything was grey. And this induced a sort of indisposition during certain parts.
......During the first two acts I stayed at the blacony, where I usually go. But there weren't too many people in the hall (sad, but at the first performance there were half people from the press and half those who came to socialize, to meet other people) so we went to the partere. First row, actually, right behind the conductor. Well, next time I'll stay at the blacony. Both the sound and the view are better. Bucharest Operahouse is not a large venue. So it's perfect. In the first row you can't pay attention to eveything. You have to move your head in order to cover the whole stage. And the sound of the orchestra is too loud as they're very close. I tend to notice all kind of things that distract me, such as the conductor of the chorus somewhere backstage, the fact that some of the artists literally stear at the conductor and forget to act and so on. But if you want to have a good view, buy a ticket in 8th-10th row. Or first to third row in the balcony.
......The Festival has a journal. In the first issue there were some articles about Oedipe. You can see them below. Sorry for the poor quality but my scaner is smaller than the size of the page of the newspaper. I put them here only for you to have an idea. There is one article by Anca Florea about the opera "Oedipe"and another one by Cristina Vasilescu about the conductor, Oleg Caetani.

......Yesterday I found the second issue of the Festival's Journal. There were more impressions after the first Oedipe. Some articles signed by musical critics. The opinions differ. Some liked everything, some didn't appreciate the greyness and stillness of the sets. See for yourselves. They're also in Romanian so please use Google Language.

Un spectacol clasicizant by Elena Zottoviceanu

......Stim cu totii ca in ultimele decenii, in marile teatre de opera decizia regizorului este dominanta si componenta vizuala a spectacolului o impinge uneori in plan secund pe cea sonora. Am avut si noi, pe scena bucuresteana, asemenea productii, ma refer, evident, la montarile lui "Oedipe"de George Enescu. Am avut un Oedipe al lui Jean Ranzescu armonios si echilibrat, un "Oedipe" politizat si socant al lui Andrei Serban, un "Oedipe" foarte frumos vizual, dar cam eclactic al lui Petrika Ionesco si acum avem un "Oedipe" clasicizat, interiorizat al lui Nicholas Joel; sa indraznesc sa spun "al lui Enescu"? poate nu intru totul dar, oricum, mai aproape de mitul regelui teban, caruia "o zi i-a facut slava, o zi nenorocirea". Specacolul se desfasoara neted intr-un arc tenisonal bine condus de la primul act pornit foarte de jos - imobil si incetosat, mai degraba parastas decat sarbatorire a unei nasteri - pentru a creste treptat pana la inclstarea din actul ciumei - foarte bine gradata - si a se incheia in sonoritatile extatice ale finalului: Oedip dispare "intr-o lumina imensa si orbitoare", spune partitura (de aceea nu am inteles ce sens avea revenirea pe scena a eroului pentru a intra in trapa. Dar probabil exista o explicatie). Si a propos de lumina, as fi simtit nevoia de mai multa culoare, de un cer mai senin, costume mai usoare si diferentiate (France Squarciapino); e totusi lumea Mediteranei chiar daca arhaica, iar mitul lui Oedipe este un mit solar, nu o legenda nordica.
......Viziunea scenica, retinuta, discreta, fara excese expresioniste sau de grand opera, este sustinuta cu intensitate de excelentul bariton francez Franck Ferrari, care is-a parasit repertoriul belcantist pentru a-si asuma rolul coplesitor al eroului enescian, cu o voce solida, frumos timbrata, nunatata cu rafinament si cu o prezenta scenica eleganta. La pupitru, un alt oaspete, binecunoscutul dirijor Oleg Caetani a modelat cu un dozaj minutios scriitura orchestrala complexa dar niciodata densa, obtinand de la orchestra Operei o rezultanta sonora de o transparenta ce nu-i sta intotdeauna la indemana. Cum mi-am propus sa comentez doar latura de co-productie, aportul si viziunea Teatrului du Capitole din Toulousse si a oaspetilor, nu ma voi opri asupra intregii distributii. Voi adauga doar ca, asemenea oricarei creatii artistice, si opera "Oedipe" poate fi citita in mai mutle chei. Cea propusa de versiunea franceza este perfect valabila si reprezinta un moment semnificativ din biografia acestei capodopere.

Ce ii spune lui Oedipe viitorul? by Ligia Ardelean

.......M-am tot intrebat pe pearcursul spectacolului de ce predomina cenusiul, de ce personajele par fantome de oricand si de nicaieri, ratacite parca in ambientul scenografic care sugereaza, ce-i drept, antichitatea elina.
......De ce anonimatul unor costume uniforme, lalai, total impersonale, de ce pare important doar ce se spune/canta si nu si cine o face (caci eroii au infatisari in mod intentionat confundabile), de ce nici gesturile, nici reactiile lor nu prea conteaza (actiunea scenica fiind extrem de redusa). de ce singura pata de culoare in aceasta mare incetosata, singurul personaj individualizat ca aparitie scenica este Sfinxul; chip impenetrabil de masca alba, trup negru - trunchi cu imense aripi - ivit dintr-o intindere incandescenta. De ce, cu aceasta singura exceptie, totul este lipsit in mod ostentativ de orice element spectaculos? Abia la sfarsit mi-am dat seama ca aici tocmai Sfinxul este personajul centra. Oedip orb pare ca paraseste scena vietii iesind pur si simplu in culise, dar revine pe fundal - adica exact acolo unde te-ai fi asteptat sa dispara - la orizontul eliberat de orice alt element, insesninat, in plina lumina, inainteaza spre public cu vederea intacta si piere apoi, inghitit asemenea Sfinxului (!?) de trapa din mijlocul scenei. Ultimele cuvinte ale Sfinxului mi-au rasunat atunci in memorie, revelatoare: "Viitorul iti va spune daca Sfinxul murind isi plange infrangerea sau rade biruitor".
......Exacerband latura filosofica a subiectului, starnind sumedenie de intrebari fara a confirma vreun raspuns, montarea lui Nicolas Joel mi s-a parut extrem de provocatoare. Sper sa intre in repertoriul curent al Operei bucurestene si pentru ca economia ei de mijloace se preteaza unei vieti scenice indelungate, turneelor deopotriva. Fara pericolul deteriorarii care ameninta montarile sofisticate, trecerea anilor nu poate fi decat benefica intru aprofundarea expresiei si consolidarea unui nivel ridicat de redare a complexei partituri muzicale. Nivel pe care aceasta premiera l-a atins in anumite momente, preponderent in cele corale. Acum, cand "Oedip" e prezent mai mult decat oricand in viata muzicala internationala, nu poate lipsi tocmai de pe prima scena lirica din tara lui Enescu.

"Oedip oratorial" by Costin Popa

......In fine, un "Oedip" nou la Bucuresti! Si chiar in deschiderea Festivalului, optiune care ar trebui sa devina o permananta, cu monumentul enescian ca emblema a manifestarii.
......In imposibilitatea de a oferi o versiune proprie, Opera Nationala a importat spectacolul, vechi de un an, pe care Theatre du Capitole din Toulousse l-a realizat sub bagheta regizorala a lui Nicolas Joel. Chiar daca la premiera franceza din 2008 nu a fost implicata, scena lirica bucuresteana l-a prezentat acum drept coproductie, ceea ce inseamna ca i-a acordat drepturi patrimoniale, rezultand din participarea corului, orchestrei si interpretilor proprii, cu exceptia celui titular si a dirijorului. Isi va contina drumul in aceasta formula? Ramane de vazut.
......Pana una alta, seara inaugurala ne-a infatisat o montare austera, minimalista, venita intr-un clasicism pigmentat domol cu simblorui si in care miscarea scenica a fost redusa la minimum. Statismul surprinde, tentele de gri apasa. Gradenele fixe, dispuse in amfiteatru, imobilizeaza coristii, impresia generala ramane cea a unui concert cunsumat, tipar din care eroii arareori ies. Sunt tratari mai mult oratorale, departate de specificul teatrului liric. In context, expresivitatea, mai ales a personajului central, raman in plan secundar. Partea plina a paharului vine din eliberarea muzicii de agresivitatile vizuale care au disipat in alte montari, vazute la Bucuresti, concentrarea de la esentele enesciene. A profitat seful de orchestra Oleg Caetani, un adept al naratiunii alrete, in fata introspectiei. Momentele de maiestrie ale triolui realizatorilor (lui Joel alaturandu-i-se semnatarii scenografiei si costumelor, Ezio Frigerio si Franca Squarciapino) au sosit in scena Sfinxului - culori insangerate, valuri uriase precum aripile monstrului, chip gaunos de creatura - si in finalul operei, in care jocul luminilor (Vinicio Cheli) a transfigurat apoteoza.
......Vocalmente, Franck Ferrari (Oedip) s-a achitat onorabil de raspunderea care i-a apasat pe umeri, cu glas proaspat, placut si omogen in zona centrala a registrului, dar fara tragism intrisec in timbralitate. In rolul Sfinxului, Ecaterina Tutu, surprinzatoare: o combinatie intre stralucirea Zenaidei Pally si subtilitatea Marjanei Lipovesk. Memorabil! in rest, distributia cunoscuta din anterioarele spectacole, cu doua bune debuturi, Crina Zancu (Atigona) si Vicentiu Taranu (Tezeu). Nu in ultimul rand, din umbra, marele Stelian Olariu, maestrul de cor.

......For the moment, that's all about Oedipe. I hope I'll get the chance to listen to it again. I doubt it will be part of the opera season so I count on the next edition of Enescu Festival.

......I dedicate a special post to te hcomments about the Festival in the press, Romanian and international. There are different articles published almost every day and sometimes some nice pictures. It's on the first page of my blog.