The Melbourne Symphony proved, with this program, that its French Connections were not only credible they were enviable. Visiting conductor Charles Dutoit displayed a firm and knowledgeable control over music that was infused with the passion of French Romanticism – even if the final work was by Richard Strauss. Ravel’s Le Tombeau de Couperin, which opened the concert, showed the orchestra to be very much at home with the French idiom. The “tombstone” of Couperin was no morose tribute nor overblown memento mori to the Baroque composer. It was characterized by melodic ease and delicacy (especially in the winds) set beside 19th century indulgence – such as the harp’s lovely glissando at the end of the first movement. The second movement Forlane – a type of folk dance – saw principal oboist Jeffrey Crellin in a solo role with the French horns and strings allowing the winds greater prominence, including the “sign-off” after a brief pizzicato before the movement ended. The rest of the work owed more to Couperin in its minuet and sparkling sound, owing much to flautist Prudence Davis. Dutoit both kept control of, and brought out the lush orchestration and emphatic rhythm that brought the work to such a satisfying end. It was hard to think how the MSO could top its opening work. But the appearance of the grand piano and soloist Jean-Yves Thibaudet soon answered that small doubt. Reputedly dressed by Vivienne Westwood, and with a distinct resemblance to David Bowie, Thibaudet appeared to be the very model of a modern performer. Yet – when his fingers hit the keyboard he recalled legendary Romantic performers like Liszt. This was in large measure because of the demands of the work he had chosen to play – Saint-Saens’ Piano Concerto No.5. This work is known as the Egyptian – and there are traces of an exotic influence thoughout the work (including a disconcerting short passage rather like Chopsticks!). The concerto is a showy crowd-pleaser – and I wondered why it was not more often heard on the concert stage. Then Thibaudet began to play, and I released that only an exceptional pianist could possibly succeed in its performance. Such a pianist was on the stage before us. The Fifth requires a soloist who can make difficult runs appear easy, sustain energy through a range of dynamics – and still maintain an equal partnership with the orchestra. Thibaudet succeeded in all these, with Dutoit’s sympathetic leadership ensuring that the lyricism as well as the technical demands of the concerto would be appreciated. After interval, Richard Strauss’s suite Le Bourgeois gentilhomme rounded off the MSO’s homage to French music. The nine elements of the suite were inspired by Moliere’s 17th century comedy-ballet, with music by Lully. The idea of the would-be gentleman is timeless, so it was easy to enjoy the satire (although the program notes by Yvonne Frindle were a welcome guide to the misadventures of the blundering Jourdain). This was a challenge for composer and performers, as audiences might tire quickly as the “hero” attempted to join polite society. But Strauss’s clever and amusing composition allowed the music to concentrate on the central activity – a minuet, a fencing lesson, musical entertainment – while the brass subtly suggested clumsiness. There were moments of great sweetness, when the strings and harp soared. Such was the concluding waltz, a robust piece that refused to be marred by Strauss’s hint that not everything was as perfect as it should be. What was pretty near perfect was the programming for the concert, the conducting of Maestro Dutoit, the brilliance of Thibaudet – and the MSO’s ability to rise with ease to the heights that were demanded of them. MSO French Connections Melbourne November 10-13 November (Season closed) Repertoire RAVEL Le tombeau de Couperin SAINT-SAËNS Piano Concerto No.5 in F, Op.103 ‘Egyptian’ STRAUSS Le Bourgeois Gentillhomme: Suite Featuring Charles Dutoit conductor Jean-Yves Thibaudet piano Melbourne Symphony Orchestra 2011 Season Launch