Review | Orchestre symphonique de Laval and the Idea of North

Winter has been in full swing this past week and with it, the fourth edition of Orchestre symphonique de Laval (OSL)’s Festival classique hivernal. The festival’s aptly titled second concert, Nordic Mosaic, consisted entirely of music composed north of latitude 45 (Feb. 1 at Salle André Mathieu). The program followed a standard format, with the commanding Jean-Marie Zeitouni at the helm delivering a shorter symphonic work (Jacques Hétu’s Legendes, op. 76), and a concerto (Edward Grieg’s famous one for piano and orchestra op. 16). The second half was dedicated to Jean Sibelius’ Symphony, No. 5 in E-flat Major, op. 82.

Orchestre symphonique de Laval conducted by Jean-Marie Zeitouni. Photo: Gabriel Fournier

What you missed:

Coming up with a definition of what makes things ‘nordic’, other than geography, is not easy, but it is an interesting exercise given that Quebec’s Hétu likely has just as much a claim to the title as Norway’s Grieg or Finland’s Sibelius. The novelist Margaret Atwood dedicated a book of essays to exploring what it means to write ‘northern’ literature and decided that a crucial theme is that of vast, unforgiving wilderness, barely held at bay. It would be difficult to argue that any of the works on the program lacked expansive melodies and soundscapes easily imagined to embody vastness and wildness. Would we have felt the same if we didn’t know they were nordic? Who knows? But such context can help to inform our listening and concert going.

Hétu combines such soundscapes with masterful sonic storytelling (reminiscent of Grieg’s Peer Gynt Suites), and the OSL was more than persuasive, relating each of the Quebec folk Legendes that underpin the music, under the strong hand of Zeitouni. What stood out most was the conductor’s clear passion for the music. The orchestra bought into the vision entirely, and the effect was magnetic.

Olga Kudriakova playing the piano in front of the Orchestre symphonique de Laval.

Olga Kudriakova (piano) with the Orchestre symphonique de Laval. Photo: Gabriel Fournier

In Grieg’s piano concerto, it took a bit of time for soloist Olga Kudriakova and orchestra to settle, but by the first movement’s cadenza, everyone was fully in sync. For those who care about such things, Kudriakova gave a masterclass in nuanced and detailed pedalling.

In the second half, we heard how Sibelius’ currency is one of idioms, ideas and textures, rather than soaring, memorable melodies. He masterfully alternates between pastoral, playful motives and the expansive sound that many connect to his northern homeland. Zeitouni managed to gather the sometimes fragmented character of the symphony into a cohesive whole. He emphasized the work’s underlying, pulsating heartbeat through to its bombastic finish.

Conductor Jean-Marie Zeitouni. Photo: Gabriel Fournier

Gripes:

Salle André Mathieu is not the most forgiving venue. Any exposed or fragile playing (such as some french-horn entries or soloist-orchestra synchronicity) becomes much more audible. It’s almost as if one were sitting in on a recording studio session. The same goes for tuning Sibelius’ complex chords (particularly in the opening of the first movement), which in other halls would be more a wash of sound. Fortunately, the exposed nature of the hall does not diminish the sound quality, as is the case in the similarly exposed, but sound-damping, acoustics of Salle Wilfred Pelletier at Montreal’s Place des arts.

Zeitouni bridged the musician/audience gap with some charming spoken introductions before diving into the Hétu and Sibelius. It would have been interesting to hear what either he or Kudriakova had to say about the Grieg piano concerto as well.

All told, it was refreshing to hear a conductor, ensemble and soloist buying into the same vision for a performance. This kind of passion is nothing if not infectious.