Here is the truth of what one should call a triumphant return! On Saturday, January 5, 2008, the Nice Philharmonic Orchestra opened the year with arias and symphonic excerpts solely devoted to the German composer Richard Wagner. With this meticulously balanced mix of musical pieces and lyrical interpretations, the Philharmonie de Nice truly gave its best: technical mastery and intense emotions. Indeed, it was “led” — there seems to be no other word to describe it — by the extraordinary German conductor Christof Perick. Born to a father who was already the Konzertmeister at the Philharmonic of Hamburg, Christof Perick, like Wagner, had spent time in Dresden which is known to have been a turning point in the recognition and success of his early works.
Christof Perick also conducts the greatest works of the German repertoire both in Germany and around the world. Last night, it was essential to see this modest man, all smiles yet as busy as a stockbroker in the heart of the New York Stock Exchange: if his right hand feverishly beat the time with his baton, his left, seemingly totally independent, was continuously making knowing signs, gestures of encouragement and suggestions specifically directed at an instrumentalist or a section of the orchestra, clearly captivated and in harmony with the maestro. Here, his index finger would summon the play of the brass, there, his overturned palm would soothe the strings, and again, he would signal a crescendo followed by another gesture launching a soloist’s piece. All these incessant and unheard-of coded transactions between this conductor and “his” musicians could only lead to the complete success of the endeavor: a nuanced execution of the overtures from Tannhäuser, Rienzi, or the prelude to Act I of Parsifal, combining both a display of power, always hard to downplay in Wagner, but also the expression of a touching subtlety, much rarer in symphonic interpretations. And capable of reminding those who still doubt it of the extreme musical finesse of the Wagnerian repertoire.
The audience had hardly caught its breath, their hands already red from repeated applause, when the young tenor with the profile of a Wagnerian hero, a force of nature with inevitably blond hair, made his entrance. According to reliable sources, this choice was based on the express wish of the Opera’s director, Paul-Emile Fourny. No one could blame him. In a concert version devoid of staging, and especially in a recital that segments the historical plot, it is always feared that the performer might find it difficult to integrate the spirit of the Wagnerian work. This is often set in a long narrative for almost liturgical works like Parsifal or Tannhäuser, or consists of successive tragic events that disrupt the melodic thread.
This would not have been possible without the talent of Torsten Kerl. Beyond his many international commitments on the world’s largest stages, this tenor and former oboe soloist also demonstrated his immense artistic qualities to the Nice audience: an incredible ability to concentrate instantly immersed him in the situation, with tones always dramatic and sacred in the spirit of the Leipzig composer. Tormented by his love for his sister Sieglinde in Die Walküre, Torsten Kerl effortlessly delivered an unforgettable “Winterstürme wichen dem Wonnemond”, Siegmund’s romantic song before performing with strong conviction, the warrior hero ready to use his sword “Notung” in the famous air “Siegmund heiss ich und Siegmund bin ich”. The redemptive prayer of Rienzi or the eternal glory of Parsifal also provided the tenor with an opportunity to modulate his vocal register, making the desperate call of man to the divine even deeper, more telluric.
This was more than enough to win over the audience at the Nice Opera. After several curtain calls, without ever faltering in the rhythm and intensity of the applause, they convinced Christof Perick and Torsten Kerl to give an encore. As soon as it ended, the hall erupted anew followed this time by the musicians who tapped their music stands with their bows and stamped their feet on the ground to express their joy in having participated in an exceptional musical moment. If this becomes the norm for 2008, the Nice Opera will certainly not have fallen short.
