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YANNICK NÉZET-SÉGUIN by WAH KEUNG CHAN PHOTO Chris Lee PHOTO 4 SEPTEMBER 2012 Sm18-1 EN P04-8 Yannick Sm17-4 FR Pxx 12-08-21 3:43 PM Page 5 sm18-1_EN_p01_Cover_sm17-4_FR_pXX 12-08-20 12:44 PM Page 1 sm18-1_EN_p02_ad_sm17-4_FR_pXX 12-08-20 1:43 PM Page 2 The works of M. M. CICIOVAN MICHEL BURUIANA, AGENT 514 733-0909 • [email protected] sm18-1_EN_p03+09_TOC-Editorial_sm17-2_FR_pXX 12-08-20 12:54 PM Page 3 HEADER HEADER CONTENTS SEPTEMBER 2012 12 INDUSTRY UPDATES 14 DISCOVERY CD » Dietrich Fischer-Dieskau 18 Debussy’s 150th anniversary 3 20LSM Philippe Sly » A new star A 21 Nikki Chooi » The Canadian violinist on the Queen Elisabeth Competition TALE of 22 The McGill International String Quartet Academy THREE 23 Victor Fournelle-Blain, winner of the Prix d’Europe 24 Spotlight on La Traviata CITIES 25 Bach Meets Shostakovich 26 John Cage’s 100th anniversary 27 Teaching singers YANNICK 38 A PARENT’S PERSPECTIVE » Music lessons 101 30 REVIEWS NÉZÉT-SÉGUIN 34 Music this fall 40 JAZZ SECTION » Pointers from a pro 42 Arts this fall 4 45 REGIONAL CALENDAR 46 CONCERT PREVIEWS PHOTO Jessica Griffin PHOTO FOUNDING EDITORS OFFICE MANAGER Rona Nadler, Karine Wah Keung Chan, Julie Berardino Poznanski Philip Anson SUBSCRIPTIONS VOLUNTEERS La Scena Musicale VOL. 18-1 & DISTRIBUTION Wah Wing Chan, Lilian I. SEPTEMBER 2012 Isaline Cartier Liganor, Annie Prothin PUBLISHER REGIONAL CALENDAR ADDRESSES La Scène Musicale Eric Legault, Etienne Michel 5409, rue Waverly, Montreal EDITOR-IN-CHIEF WEBSITE (Quebec) Canada H2T 2X8 Wah Keung Chan Normand Vandray, Tel.: (514) 948-2520 BOARD OF DIRECTORS Michael Vincent Fax: (514) 274-9456 Wah Keung Chan (pres.), BOOKKEEPERS [email protected] / Iwan Edwards, Mourad Ben Achour www.scena.org Holly Higgins-Jonas, ADVERTISING Ver: 2012-8-20 Sandro Scola, CN Smail Berraoui, Marc © La Scène Musicale ADVISORY COMMITTEE Chénard, Aminia Douiri / Gilles Cloutier, Pierre ads.scena.org SUBSCRIPTIONS Corriveau, Maurice Forget, CONTRIBUTORS Surface mail subscriptions (Canada) C.M., Ad. E, David Franklin, René F. Auclair, Renée cost $42 / yr (taxes included) to cover postage and handling costs. Ad. E, Margaret Lefebvre, Banville, René Bricault, Please mail, fax or email your name, Stephen Lloyd, Constance V. Frédéric Cardin, Éric address, telephone no., fax no., and Pathy, C.Q., E. Noël Spinelli, Champagne, John Delva, email address. Donations are always welcome and are tax-deductible. C.M., Bernard Stotland, FCA Philippe Gervais, Shira (no 14199 6579 RR0001). MANAGING EDITORS Gilbert, Naomi Gold, David Laura Bates, Crystal Chan Henkelman, Alexandre LA SCENA MUSICALE, published 10 times per year, is dedicated to the pro- JAZZ EDITOR Lazaridès, Philippe motion of classical and jazz music. Each Marc Chénard Michaud, Emmanuelle edition contains articles and reviews as PROOFREADERS Piedboeuf, Paul E. well as calendars. LSM is published by La Scène Musicale, a non-profit organi- Annie Prothin, Jef Wyns Robinson, Lina Scarpellini, zation. La Scena Musicale is the Italian ARTISTIC DIRECTOR Joseph K. So, Richard Turp, translation of The Music Scene. All Adam Norris Jacqueline Vanasse rights reserved. No part of this publica- tion may be repro duced without the GRAPHICS INTERNS written permission of LSM. Adam Norris Kerrie Boyle, John Delva, Rebecca Anne Clark Thérèse Lana, Patrick ISSN 1927-3878 Print English version (La Scena Musicale). Production: [email protected] Modaferri ISSN 1927-3886 Online English version COVER PHOTO TRANSLATORS Canada Post Publication Mail Sales Pierre Dury John Delva, Rebecca Clark, Agreement SEPTEMBER 2012 3 sm18-1_EN_p04-8_Yannick_sm17-4_FR_pXX 12-08-20 12:56 PM Page 4 A TALE of THREE CITIES YANNICK NÉZET-SÉGUIN by WAH KEUNG CHAN PHOTO Chris Lee PHOTO 4 SEPTEMBER 2012 sm18-1_EN_p04-8_Yannick_sm17-4_FR_pXX 12-08-21 3:43 PM Page 5 “The Nézet-Séguin era with The Philadelphia Orchestra will be historic and groundbreaking.” - DAVID KIM, Concertmaster, The Philadelphia Orchestra PHOTO Philippe Jasmin PHOTO THE 2012-2013 SEASON IS SHAPING UP on the BIS label. Before the end of the sum- to be Canadian conductor Yannick Nézet- » On Record mer, he will have recorded Tchaikovsky’s Sixth Séguin’s golden year. Just months before offi- Symphony with Rotterdam, and in November cially taking over as the renowned Already an accomplished recording artist on in Paris, a Schumann cycle with the Chamber Philadelphia Orchestra’s new music director, ATMA with the Orchestre Métropolitain, and Orchestra of Europe. Naturally, he can choose Nézet-Séguin secured a non-exclusive eight- since 2008 on EMI after he took over the his own soloists. He rattled off an impressive year contract with Deutsche Grammophon. In Rotterdam Philharmonic, the DG contract list of choices: pianists Hélène Grimaud, Jan the storied history of the international record began with a meeting in 2008 in Salzburg Lisiecki and Martha Argerich as well as company where the revered German conduc- when Nézet-Séguin was conducting Gounod’s singers Anna Netrebko, Bryn Terfel and tor Herbert von Karajan held court for three Romeo and Juliet, which was being filmed live Rolando Villazón. decades, Nézet-Séguin becomes the first Cana- for DVD release on DG. “The new VP of Artists “It’s always been my dream to make dian conductor to join the label’s roster, con- and Repertoire had heard from various artists recordings,” says Nézet-Séguin. “I never shy firming him as Canada’s top conductor. who only wanted to record with me,” says from buying lots of recordings to help my Nézet-Séguin will be splitting his season Nézet-Séguin. learning, and it has shaped my identity as an between his directorships at Philadelphia, It would have been easier to record concer- artist. Now, I have a tremendous collection of Rotterdam (five years running) and his Or- tos with soloists, but Nézet-Séguin held out for CDs—but I don’t have time to listen to them.” chestre Métropolitain (11 years), plus regular orchestral and opera projects. The result is a He credits Johanne Goyette of ATMA for giv- opera productions at the Metropolitan Opera contract lasting until 2020 for Mozart’s last ing him his start just a year after he took over in New York (he will conduct Verdi’s La Travi- seven operas (Idomeneo; Abduction from the the OM. “I’m a big fan of live recording with ata next in March 2013), and annual summer Seraglio; Così fan tutte, which has just been one patch session,” Nézet-Séguin explains. stints in Baden-Baden and elsewhere. In the recorded; Don Giovanni, which was recorded The Mozart operas will be recorded during the competitive international world of music, it last year and set for fall release; Le Nozze di two to three live performances plus one stu- doesn’t get better than this. Nézet-Séguin has Figaro; The Magic Flute; La Clemenza di dio session, for now at the Baden-Baden festi- arrived at the pinnacle of his profession. Tito) plus three other recordings with the Rot- val. According to the maestro, Baden-Baden terdam Philharmonic. It is non-exclusive, “is the new Salzburg.” meaning he can still record for ATMA and finish off two more recordings with Rotterdam SEPTEMBER 2012 5 sm18-1_EN_p04-8_Yannick_sm17-4_FR_pXX 12-08-21 3:43 PM Page 6 ON THE COVER » Philadelphia Conspicuous in its absence from the discus- sions are recordings for the Philadelphia Orchestra, but it’s just a matter of time. When Nézet-Séguin accepted the post of music di- rector designate in 2010, there were probably some reservations. Although the Philadelphia Orchestra is one of the “Big Five” American orchestras, it was going through tough finan- cial times; with decreasing ticket sales, the organization filed for bankruptcy protection in 2011. Nézet-Séguin had seen some rough financial patches with the OM, Why would he put himself in such a mess again? “My first visit as guest conductor in 2008 [for] the Tchaikovsky Sixth Symphony, the Pathétique, I felt a real immediacy, a response to my gestures and ideas unlike anything else I experienced before,” he describes. “It was Borggreve Marco PHOTO like I’d made music with them before in a pre- vious life, a kindred spirit.” Musicians describe a similar rapport. “I felt “His genuine warmth and great sense of the magic within the first minute,” says David Kim, Philadelphia’s concertmaster. “From the humor have helped us get to know and love very first rehearsal, we knew we were working him quickly, and imbued our whole team with someone extraordinary who could be entirely persuasive in his interpretation, with with a bright and realistic optimism for our the technique to show it to us with absolute clarity and no extraneous motion, yet with future.” great dynamism and charisma, and with as sunny and positive a disposition as anyone I - JULIETTE KANG, Associate Concertmaster, The Philadelphia Orchestra could name,” continues principal flutist Jeffrey Khaner. generosity. Then it will sound more blended.” to transform that attraction into an under- Philadelphia’s great orchestral tradition is Nézet-Séguin plans on introducing some new standing, which was also very exciting,” he well documented in its recordings conducted repertoire, namely more baroque music. explains. Since he took over the orchestra by Leopold Stokowski and Eugene Ormandy, “Doing Bach will help do Mozart, which helps from the impulsive Russian Valery Gergiev, he and it is that Philadelphia sound that draws Beethoven, and then Brahms.” says he tries “to combine the spontaneity of Nézet-Séguin. “It’s the Curtis factor,” he says, Nézet-Séguin also gets a thrill out of giving Gergiev with increased discipline in the play- referring to the Curtis Institute, the academy post-concert lectures. “Hundreds and some- ing and more refinement in soft textures. It where many of the orchestra members teach. times thousands attend,” he says. Other took three years working in the garden, and “The ratio of teacher to student is the highest in initiatives include his plan for a festival at the the fruits are now blooming.” Nézet-Séguin’s any orchestra, and it makes for such a won- orchestra’s former home, the Academy of goal is to put the Rotterdam Philharmonic on derfully powerful sustained sound from the Music.
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