Certainly,
A Russian repertoire was indeed necessary—even though Sergey Prokofiev was of Ukrainian origin—to salute the final performance of Maestro Marco Guidarini with the Nice Opera Philharmonic Orchestra. The Piano Concerto No. 1 op.23 by Pyotr Ilyich Tchaikovsky also contains all the majesty in the brief brass introduction needed to announce the talent of the young pianist Cédric Tiberghien. A talent recognized by a first prize in piano at the age of 17 and consecrated by the first prize of the prestigious Marguerite Long-Jacques Thibaud Competition in 1998. The architecture of this piece suits this artist with a youthful face well: it alternates between rebellious passages that demand impressive piano virtuosity and distinctly gentler melodies where his hands seem to barely touch the black and white keys.
Mastered—sometimes a bit too much—by an always inspired Marco Guidarini, the Nice Philharmonic unfolds in lyrical flights, almost violent ones that just as promptly give way to the most tearful pathos, a signature of a composer known for his multiple “contrasts.” In the second movement, where pizzicato strings open the way to a magnificent solo flute, the piano audacities follow one another, even though Cédric Tiberghien seems to rather enjoy them in an almost playful interpretation, in harmony with the light atmosphere probably influenced by a popular song inserted in these measures. While a more rhythmic and powerful third movement is expected, the interpretation seems to privilege good harmony with the piano, relegating the orchestral magnitude to the background.
The second part, a “recomposed” version of the “Romeo and Juliet” Suite by Sergey Prokofiev, offers the Philharmonic and its Musical Director an opportunity to share moments of technical perfection but also of great emotion: this was the case with the birth of the passion between the two lovers, a magnificent musical sequence in which the paroxysmal rise of romantic feelings is preceded by the almost syncopated expression of the first emotions, figures admirably rendered by orchestral breaths that enchanted the audience. The last piece, “The Death of Tybalt,” is pure Prokofiev: a massive melodic construction, abrupt rhythms, all made Soviet-style by the excessive use of percussion. The particularly troubled story of the composer during the USSR era is well known. We sympathize.
Attention! “Aida” by Verdi at the OPERA DE NICE at the PALAIS NIKAÏA
FRI. JUNE 12 at 8:30 PM, SUN. JUNE 14 at 8:30 PM.
WED. 10, JUNE | 8:30 PM: Evening reserved for young audiences, students.
Single rate €5,
Online reservations: https://www.opera-nice.org/
