Introducing Orchestra London's New Music Director, Alain Trudel

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Orchestra London: Spring Gala 2011; Introducing Alain Trudel

by Brian Hay

The last time Alain Trudel was here in February of 2010 he placed emphasis on the weight of the bass lines and pushed the brass players to a point where their playing had a rawness not often heard on North American stages. It brought a feel that was distinctly Russian to Orchestra London's rendition of Tchaikovsky's Second Symphony (the 'Little Russian') that night. That he'd demonstrate a flair for embracing a variety of styles really shouldn't have been that surprising. Even with this in mind it was though.

The show opened with the Overture from 'The Barber of Seville' by Rossini. The performance was filled with playfulness and mischief. After that Sophie Louise Roland came on and gave a dazzling rendition of 'Cruda sorte' from 'L'Italiana in Algeri' ('An Italian in Algiers'), also by Rossini. The next work showcased the final two movements of Haydn's 'Seventh Symphony'. The orchestra captured the refinement and elegance of the period between the Baroque and Classical periods. It also featured some sweet playing by bassist Joseph Phillips and flautist Annelie Metrakos. This was followed with a stunning reading of the 'Habanera' from Bizet's 'Carmen' by Sophie Louise Roland.

Whether it's on a concert stage or in an operatic role this lovely singer defines what she does. In Orchestra London's 2009 performance of 'Messiah' under Timothy Vernon she gave the most brilliantly dramatic reading of 'He Was Despised' that I've ever heard on either live or recorded versions. Last year in their production of 'Giulio Cesare' (again, under Vernon) she was absolutely stunning in the role of 'Cornelia'. Her technique and vocal agility are strong enough on their own but that's only part of the picture. She brings a presence to the stage that combines both her and the character being presented in a way that becomes more than the sum of those parts. She is truly amazing to watch and listen to.

The reading of the 'Finale' from Holst's 'St. Paul Suite' was light and breezy. The piece that followed marked a shift to the style that Maestro Trudel referred to as 'Kiosk Music'. It had a rousing march like feel to it that was enhanced by Maestro Trudel's virtuoso performance on the trombone. He then showcased the first two movements of a contemporary piece. Before directing the work Maestro Trudel suggested paying attention from the minds eye. It was good advice. For me Paul Frehner's 'Sarantine Polyphony' evoked images of a bazaar from the streets of the Middle East or Middle Asia from either late in the nineteenth or early in the twentieth century. Much of it also had a sinister, almost swarthy undercurrent to it.

The next shift was to the world of Contemporary Pop. Lennon and McCartney's 'Eleanor Rigby' and Procol Harum's 'A Whiter Shade of Pale' are both natural pieces for orchestras to perform. Doing that with 'Paint it Black' by The Rolling Stones stretches the listener's imagination a lot more though. Peter Brennan of 'Jeans 'n Classic' provided stunning arrangements for all three. 'Eleanor Rigby' showcased cellist Christine Newland playing the vocal line against a backdrop provided by the strings. Guest soloist, trumpeter Paul Stevenson (also from Jeans n Classics), gave a fabulous performance against lush backing from the orchestra. The arrangement that Peter Brennan gave to 'Paint It Black' was wonderfully imaginative. He took a free licence with the tempo, slowing it down in sections while bringing it close to the original recording at other times. He made it sound like it could have originated in the camps of European Gypsies while keeping it easy to imagine Mick Jagger singing in front of the original ensemble.

The performance of Fauré's 'Pavane in F-Sharp Minor was sublimely beautiful. The orchestra gave it an interpretation that was both lovely and dramatic. The work the London Pro Musica Choir did on the piece was ravishing. The final piece on the program, and excerpt from Bartok's Romanian Folk Dances was light and playful. There had to be a lot of feet tapping quietly for that one.

Alain Trudel showed a lot of things at this show. He had the sound of the orchestra configured perfectly for the program. With eighteen string players, twelve wind players and a percussionist he achieved wonderful clarity between the winds and strings while still being able to give substantial weight to the parts played by either. He's considerate of everyone around him. When a piece is unfamiliar or may be difficult to absorb he tries to be as helpful as possible. He took the time to introduce the program in both English and French. Any time a piece placed the spotlight on one or more individuals he made their contribution known to the audience.

With this orchestra he has a good fit. His desire to present wide range of musical genre and styles compliments their ability to adapt to them beautifully. His re-pore with them is one of quiet ease rooted in confidence in his colleagues' ability to do their jobs. After the show Joseph Lanza said that he thinks they'll be turning things up a notch next season. He's probably right. This is a group of people that makes things seem easy because they work hard to make them it look that way. Alain Trudel respects that and they'll all thrive on it. With him they have a Musical Director who'll keep their interest level high by keeping them challenged while making sure music making remains fun for both them and their audiences.

This is looking really good.

This show took place at The Grand Theatre in London Ontario on Saturday June 4, 2011. This write up was done to convey an impression of what it was like to be there.

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