Below-Par Performance of OM-Lyniv
A Unforgettable Evening, Yet Not as Expected
The arrival of Ukrainian conductor Oksana Lyniv in Montreal was a significant event, brimming with artistic camaraderie and support for Ukraine and its community. However, the musical experience didn't quite meet the anticipations.
Oksana Lyniv is a force to be reckoned with in the conducting world. Her bravery was displayed when she intervened against the engagement of conductor Theodor Currentzis and his orchestra, funded by VTB, Russia's second-largest bank. Currently based in Italy, Lyniv also conducts at Bayreuth and is frequently invited to the Met. The long-term impact of her career remains to be seen, as curiosity and solidarity gradually give way to regular evaluations of her talents.
A Mixed Bag
In all honesty, the Maison symphonique performance didn't win us over musically. Still, there were a few positives. Lyniv's stage presence is impeccable, professional, and sympathetic. Her conducting command is clear and capable, a stark contrast to two Met conductors—Alondra de la Parra and Daniela Candillari—who, despite their feminine talents, struggled in their previous engagements. Lyniv shines in comparison, embodying a polished and powerful presence.
The Ukrainian composition Reunification by Boris Liatochinski, which Lyniv conducted with heartfelt passion, brought a sense of pride and connection to Ukraine. The rest of the program had its share of highs and lows. The opening Moldau was a disappointing experience, with a tempo that lacked flow and a disjointed definition of the instrumental mechanics instead of the natural flow of a river.
The transition to the nuptial landscape was lackluster, resembling an indifferent suburban dance rather than a rustic celebration. The transition to the moonlight was sequential, and the music failed to flow, lacking atmospheres. When the orchestra played in tutti, the focus was too heavily on the brass section, leaving the violins virtually inaudible. The resulting noise bore an uncanny resemblance to bad Wagner, with even the trumpets unable to pierce the cacophony.
One thing is clear: Oksana Lyniv appreciates decibels and the power of brass. Yet, her work lacks in areas like architecture, narration, string texture, and color evocation. As a result, pieces like The Golden Spinning Wheel suffer from expressive tunnels due to a lack of continuity and storytelling.
A Soloist's Journey
To better understand, listen to Petr Popelka's recent Moldau on the Supraphon label and Claus Peter Flor's Golden Spinning Wheel with the Malaysian Orchestra. These recordings demonstrate the value of color, connection, and the circulation of phrases, highlighting the contrast with Lyniv's approach.
Regarding Dvořák's Violin Concerto, Ukrainian violinist Diana Tishchenko stepped in as the replacement for Sokolov. Her performance was surprisingly mediocre, with an unexceptional projection, shrill treble, insipid G string, and soundless pianissimos during runs, lack of clarity, and ordinary intensity. The orchestral accompaniment was equally lackluster, particularly in the third movement.
In conclusion, the concert was a commendable effort with good intentions, but its overall execution was underwhelming and, in some instances, insufficient. Two final remarks stand out. Symphony conductor Léa Moisan-Perrier delivered a promising performance during a Slavonic Dance in the opening, demonstrating the positive impact of Rafael Payare's work on the hall's acoustics at the OSM. At the OM, however, high frequencies dominated the sound spectrum. Additionally, keeping the lights on in the hall during performances may be intended to prevent audience members from dozing off, but it is disruptive and unpleasant for concentrated music appreciation.
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- Despite the disappointing musical experience during Oksana Lyniv's performance, her stage presence was impeccable, professional, and sympathetic, setting her apart from two Met conductors who struggled in their previous engagements.
- The Ukrainian composition Reunification by Boris Liatochinski, which Lyniv conducted with heartfelt passion, brought a sense of pride and connection to Ukraine during the concert.
- Ukrainian violinist Diana Tishchenko's performance of Dvořák's Violin Concerto was surprisingly mediocre, with unexceptional projection, an insipid G string, and a lack of clarity that resulted in ordinary intensity.
- Symphony conductor Léa Moisan-Perrier delivered a promising performance during a Slavonic Dance in the opening, demonstrating the positive impact of Rafael Payare's work on the hall's acoustics at the OSM, while the excessive use of lights in the hall during performances at the OM was disruptive and unpleasant for concentrated music appreciation.
