The Bermuda Philharmonic: Springtime in Paris

No theme in music, regardless of genre whether it’s classical, jazz, or any style in between, is more inspiring or evocative than springtime in Paris.

In explaining how the Bermuda Philharmonic chose this theme, music director and conductor, Kate Kayaian said: “I just thought it would be fun to do French music — and you know, Springtime in Paris is such a wonderful thought. There is a lot of repertoire that fits the theme and at the same time it gives a feeling of youthful exuberance.”

The performance began with the overture from Jacques Offenbach’s Orpheus in the Underworld.

This was an apt and ambitious choice given that the power of enchanting music is central to the myth of Orpheus.

The Offenbach piece opened with spirited and jaunty waves of crescendo which soon gave way to a delicate and swooning melody with the orchestra never losing its footing in the score’s dynamics.

A wonderful highlight was the enthusiastic delivery of the riotous and renown motif famously associated with the Moulin Rouge.

One fully expected to see flying petticoats and high-kicking legs dancing the cancan across the stage and the generous applause acknowledged the orchestra’s wonderful performance.

Offenbach’s overture was followed by Mozart’s Horn Concerto No. 3 which is often lauded for its “aristocratic richness” and is considered the most sophisticated of his four concertos because of its lyricism, complex arrangement and the technical difficulty it places on the musician.

The soloist is to be commended for demonstrating a total command with this concerto.

George Gershwin‘s love letter to the City of Lights cemented his reputation as a composer who could successfully straddle classical and jazz music.

What was innovative about this music was its eccentric use of urban soundscapes, its seamless blending of musical genres and how Gershwin used pronounced instrumentation to convey the city’s innate energy.

While the melody was articulated, the required energetic pulse felt muted, somehow anaemic. The performance was like a great sauce missing an unidentified ingredient. Still, a stellar rendition by the orchestra.

Bach’s composing style usually employs several melodies simultaneously with equal sonic weight to each melodic line.

The effect is poignant, beautifully lyrical and typically provokes a rich emotional response. While the soloist encountered some difficulty with Bach’s Concerto, much to their credit they never lost composure and stayed with their performance achieving an admirable recovery and finish.

At this point in the programme, Kayaian’s prowess with directing the orchestra proved formidable.

She said: “It’s a wonderful experience to be a conductor and to work with the orchestra because in some ways I am up there to control the outcome. I don’t make any sound myself — that’s up to the musicians who have their ideas. And that’s what rehearsals are all about.

“To discuss those ideas, and while it’s not a fully democratic process we work together to make the performance exciting.”

Throughout the programme, Kayaian was charismatic and engaging as she provided the selection’s background and context while graciously acknowledging the musicians.

Gabriel Fauré described the music of Pavane Op.50 as “carefully crafted but not otherwise important”.

Today, it is regarded as one of the most renown compositions from the turn of the 19th century.

Celebrated for its captivating and elegant tempo and its noble harmonies, Fauré’s composition is universally adored for its beauty.

The Pavane showcased the calibre of the orchestra’s musicians and was undoubtedly the programme’s best performance — marvellous playing.

Danse Bacchanale from Camille Saint-Saëns’s Samson and Delilah Opera famously reimagines the frenzied and indulgent revelry to honour victory by the Philistines over the Biblical figure Samson.

With a frenzied tempo accentuated by percussion of Middle Eastern aesthetics, this music is intended to convey chaos, eroticism and abandon.

Like the Gershwin, there wasn’t a full vibrancy of colour and fully realised texture in the up tempo passages. Perhaps greater percussive accents or a stronger brass presence could have been incorporated to a greater degree.

Was this simply the orchestra being too ambitious musically given its make-up or “instrumentation gaps” in the orchestra?

A distraction during the first half of the performance was having the house lights on. They were turned off for the second half and effect was immediate and enhancing.

Another “noticeable” was the near lack of audience diversity in a country like Bermuda.

If the success of the Bermuda Philharmonic is defined by cohesive performance excellence and strong artistic integrity then Springtime In Paris was a wonderful accomplishment!

The inclusion of Gabrielle Henderson and JitHorn Liew as soloists in the Mozart concerto and the Bach concerto respectively, emphasises the significance of the Bermuda Philharmonic beyond the performance success of Springtime In Paris.

It evidences commitment to education and its continuous contribution to Bermuda’s cultural heritage — while never losing sight of the pursuit of artistic excellence.

Taking license with the poetry of Paul Valéry: “La musique joue, nous devons essayer de vivre.”

Vive l'Orchestre Philharmonique des Bermudes!