Uttjänt orkester i ny skrud

det norske kammerorkester klassisk konsert
Bildet er fra en annen konsert

I have criticized the Norwegian Chamber Orchestra so many times that I’ve become tired of repeating the criticism. I think that the core of the problem is the gambling leader. It is not the leader’s competence I question, but that they try to behave like a chamber ensemble when they do not manage to hold together the interpretations. However, I have stopped repeating this criticism, but when the orchestra played in the evening up to a completely different dance, I let my previous acidity as the beginning of the article. The Norwegian Chamber Orchestra played the opera at Den Norske Opera og Ballett, and Robert Howarths lead the orchestra was changed beyond recognition. 

Understand, however, the degree of my criticism of past performances right. The musicians have played at a very high level and interpretations have been characterized by high energy and a joy that can capture any listener. However, it has quickly become tired of what they hear, for the most part have faded with the same high-intensity sound without sufficient variety. The situation was now completely different.

Should we play to opera requires great flexibility, especially in the more restrained registry. The richness of the sound came much of that it saw vibrato norm but rather as a means of expression. With their implemented non-vibratostil rang orchestra with a danceable sound that I have not heard them for years (read also like my review of Allegria Ensemble  that was precisely how they used vibrato – albeit repertoire was quite different). The Norwegian Chamber can also go from zero to one hundred in a moment – yes, perhaps that moment become even shorter, with a directing leader. The contrasts and how well they impress with their characterizations make interpretations vivid and captivating.

So, the question of historically informed gaming cards dealt. I have already mentioned how the meritorious work with vibrato. The interpretations lacked the classical rhetoric with constant emphasis. They had a generally good wienklassicistiskt sound. It was easy, but the phrasing area became too unequivocal and attention to detail, ie the rhetorical elements were missing. At the same time, they played well as good as you would expect of a conventional orchestra.

The opera performance as a whole was otherwise a lovely entertainment history with slapstick-directing and brilliant casting, but you can certainly read about another place.

DEL

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