New Years Concert ★★★✩✩
Performers: Vallès Symphony Orchestra. Address: Isabel Rubio. Place and date: Palau de la Música Catalana (XII/31/2023)
The young director Rubio and the veteran and very professional Orquestra del Vallès have given meaning and ownership to this musical proposal that is inspired by the one in Vienna each year. Maybe I should incorporate little gems from our repertoire, instead of Danglas, Sullivan, Tchaikovsky, Bernstein...
On this occasion, with a success that goes beyond the strict musical quality to settle in the field of a show that leaves its mark on the viewer, it leads critics to settle in this other field, in which not only the music, but The words with which Rubio guided the concert managed to create excitement in those who filled the room and who, at the end, applauded, moved by the numerous ingredients at play.
From a musical perspective, it is true that Rubio shows good presence and authority on the podium, also that his gesture is not always very precise if it is a committed work – which was not the case in this program – and that the distance between the description and the essence is yet to be overcome. And it is very possible that he will do so since management implies and needs – in addition to many other qualities – experience and self-criticism.
Works like Johann Strauss's Emperor Waltz require more sensitive phrasing and less martial rhythms, as does Dvorak's Slavic Dance No. 8 that opened the program. And more than could be said, but this is left out of the scene since what reached the public - we are already in the field of entertainment - was a lot of naturalness, closeness due to Rubio's comments and impressions between works, excellent work and commitment of the musicians, and a good ability to have achieved very direct communication between the room and the orchestra.
The clapping in polkas or at the end in Radetzky were one of the notable resources, and it is a merit to know how to communicate, to stimulate participation with naturalness and friendliness. So this imitation of Vienna soon acquired its own personality, which culminated with a choral version of the Noi de la mare with strings from the orchestra and the rest transformed into a choir, well supported by an audience that was notoriously in tune and also moved by the beauty of a tradition.
