11.11.2010 at 14:06

Quick reference: orchestra. The Capitol Orchestra of Toulouse was created at the beginning of the 19th century at the Toulouse Opera House, located in the Capitol building - the town hall of Toulouse, but only after 1945 it began to develop as an independent symphony orchestra, working with such world-famous conductors as André Kluitens and Georges Pretre. A new bright page in the life of the collective opened in 1968, when it was headed by the outstanding French maestro Michel Plasson. During his tenure, the orchestra began to actively tour and record, and also moved to a new hall. It was Michel Plasson who drew the attention of the city authorities to one of the most interesting buildings in Toulouse La halle aux grains(Grain market), in which trade has been going on since 1864, and since 1952 a sports complex has functioned. In 1974, as a result of re-profiling, this unique building, with its architectural and acoustic features, became a magnificent concert hall with 2,500 seats and a permanent venue for the collective. In 1988, its acoustic conditions were improved in accordance with new technical capabilities. Today it is an international class concert hall.

In 1980, the French Ministry of Culture awarded the orchestra with the title of National. For thirty-five years of work with Michel Plasson, the orchestra has made more than a hundred recordings (primarily of French music). For the first time, a number of works by Chabrier and Fauré were recorded, the only recording of the little-known "Roman Cantatas" by Ravel was made, which has become an audiographic rarity. In 2003, Michel Plasson left the orchestra, remaining as its Honorary Conductor. In September 2005, Tugan Sokhiev took over the post of chief guest conductor and artistic consultant of the National Orchestra of the Capitol of Toulouse, which is the first time in the history of the orchestra. In 2008, after three years in this status, he was appointed artistic director of this group with a contract for another three years.

After the arrival of Tugan Sokhiev, the National Orchestra of the Capitol of Toulouse signed an agreement with a record label Naive classique... It has already recorded three discs: 1) Pictures at an Exhibition by Mussorgsky and Tchaikovsky's Fourth Symphony (2006); 2) "Peter and the Wolf" by Prokofiev with the participation of the French actress Valerie Lemercier (2007); 3) Prokofiev's Second Violin Concerto (soloist - Genevieve Lorenzo) and Rachmaninoff's Symphonic Dances (2010). At the end of October 2010, as a promotional action, at the concerts of the National Orchestra of the Capitol of Toulouse in St. Petersburg, a special Russian edition of this disc was distributed free of charge to the public. In February 2008, at the 15th Anniversary Awards Ceremony Les Victoires de la Musique Classique held at the Toulouse Concert Hall La halle aux grains, The National Orchestra of the Capitol of Toulouse was awarded an honorary prize in the highest category Victoire d'honneur.

Quick reference: conductor. Tugan Sokhiev was born in 1977 in Vladikavkaz. In 1996 he graduated from the Vladikavkaz School of Music (now bearing the name of Valery Gergiev), in 2001 - the Faculty of Opera and Symphony Conducting of the St. Petersburg State Conservatory (class of professors Ilya Musin and Yuri Temirkanov). Conducted the orchestras of the St. Petersburg Conservatory and the Mariinsky Theater at concerts in memory of Ilya Musin (1999 - 2000). In 1999 he was awarded the II prize at the III Prokofiev International Conducting Competition in St. Petersburg, sharing it with Alexander Sladkovsky (I was not awarded the 1st prize).

In 2000, the conductor began collaborating with the Mariinsky Academy of Young Opera Singers. In December 2001 he made his debut at the Mariinsky Theater in the concert program Through the Pages of Rossini's Operas. Since 2005 he has become a permanent conductor of the Mariinsky Theater. He directed the premieres of the operas Carmen, The Tale of Tsar Saltan, Journey to Reims. People's Artist of the Republic of North Ossetia-Alania. He is currently the artistic director of the National Orchestra of the Capitol of Toulouse, inheriting this post from the illustrious master Michel Plasson.

In 2002 Tugan Sokhiev made his debut at the Welsh National Opera House (La Boheme), and in 2003 at the Metropolitan Opera (Eugene Onegin). In the same year he performed for the first time with the London Philharmonic Orchestra, performing Rachmaninoff's Second Symphony. The concert was highly appreciated by critics and became the beginning of close cooperation of Tugan Sokhiev with this group. In 2004, the conductor brought the opera The Love for Three Oranges to the festival in Aix-en-Provence, which was later repeated in Luxembourg and at the Teatro Real Madrid, and in 2006 at the Houston Grand Opera he presented the opera Boris Godunov ”, which was also a great success. In 2009, the conductor made his debut with the Vienna Philharmonic Orchestra, which received rave reviews from critics. In recent concert and theater seasons, Tugan Sokhiev conducted the operas The Golden Cockerel, Iolanta, Samson and Delilah, The Fiery Angel and Carmen at the Mariinsky Theater, as well as The Queen of Spades and Iolanta at the Capitol Theater Toulouse.

At the same time, the conductor tours extensively in Western Europe, performing as a guest conductor in a number of major orchestras. The list of them is so impressive that even a simple listing will require a lot of ink and paper: it contains almost all the leading European orchestras. Recently, Tugan Sokhiev made his debut with the Rotterdam and Berlin Philharmonic Orchestras, receiving from critics the definition of "miracle conductor". His most recent engagements include successful debuts with the Spanish National Orchestra, the Turin RAI Orchestra and a series of Philharmonic concerts at the Teatro alla Scala in Milan. In addition, as a guest conductor, Tugan Sokhiev performs with the Rome Orchestra of the National Academy "Santa Cecilia", the Bavarian State Opera Orchestra, the Royal Concertgebouw Orchestra, the Munich Philharmonic Orchestra, the Arturo Toscanini Symphony Orchestra, the Japanese National Orchestra of Russia and the Russian National Orchestra of Russia. The conductor's plans for the next seasons include The Queen of Spades at the Vienna State Opera, projects with the Mariinsky Theater, and with the ensemble headed by him - studio recordings, tours and several opera performances at the Capitol Theater in Toulouse.

Last year, the National Orchestra of the Capitol of Toulouse gave two concerts in Moscow, this year - two concerts in St. Petersburg. Last year, the famous French ensemble toured as part of the IV Festival of World Symphony Orchestras, this year - as part of the official events of the International Cultural Project "Year of France in Russia - Year of Russia in France". Last year the concerts took place at the Column Hall of the House of Unions, this year at the Concert Hall of the Mariinsky Theater. Probably, there is nothing surprising in the fact that both then and now one of the presented programs of symphonic music was completely French, and the other was completely Russian, because the romantically sentimental Russian maestro Tugan Sokhiev, more recently “a nestling of the nest Mariinsky Theater ”, and today one of the brightest and most successful representatives of the young generation of Russian conductors who have entered the international music arena.

Ironically, I didn’t manage to hear the Russian program in Moscow last time, because I ... was in St. Petersburg: it was simply impossible to refuse a trip there, because it was on the very same day that the Munich Philharmonic Orchestra was on the stage of the Mariinsky Theater Concert Hall under the direction of his celestial boss Christian Thielemann he played Bruckner's Eighth Symphony. The current Russian program, brought by the Toulouse orchestra members, simply didn’t fit into the weekend that I was able to spend in St. Petersburg. But even despite the fact that the Moscow and St. Petersburg versions of the French program had a lot in common, once again live to hear the filigree-perfected sound of the National Orchestra of the Capitol of Toulouse turned out to be from the category of truly exquisite and delightful pleasures.

Both in Moscow and in St. Petersburg the program was opened by Debussy's Prelude to the eclogue by Stephane Mallarmé "Afternoon of a Faun", and closed by "Fantastic Symphony" by Berlioz. I still have fresh "impressions" of "Afternoon of a Faun" performed by the Mariinsky Theater Orchestra under Valery Gergiev, who "diluted" the program of Natalie Dessay's summer recital on the same stage. And if at that time it really was just a "dilution on duty for the occupation of time", then the French musicians showed such a fantastic play of shades of orchestral timbres, demonstrated such ecstasy with the richness of impressionistic musical colors that it was simply breathtaking! I'm not even talking about how impeccably balanced and extremely verified the interpretation of this little masterpiece by Debussy appeared. An amazing and, at first glance, simply incomprehensible feeling of "transparent saturation" of the orchestral sound was inherent - forgive the pun! - and absolutely fantastic performance of "Fantastic Symphony". In my opinion, it was this piece of the program that corresponded perfectly to the truly romantic role of conductor Tugan Sokhiev. Within the framework of the St. Petersburg concert under discussion, the interpretation of Berlioz's great programmatic symphony, perhaps, became the most striking "episode in the life" of a conductor who grew up professionally in the bowels of the Mariinsky Theater. This performance captured the audience's captivity with its unaccountable freedom of "falling into the abyss" pure musical symphony, truly refined elegance and figurative-intonational expressiveness, worked out to the smallest nuances.

Thanks to the two works under discussion, performed by the same orchestra in two different halls, I finally had the opportunity to compare them acoustically. Say what you like, but the "perfectly transparent", "all-hearing" acoustics of the Column Hall of the House of Unions is much more conducive to the transfer of subtle orchestral nuances of symphonic sound than the "resonating loud", "emphatically vibrating" acoustics of the Concert Hall of the Mariinsky Theater. Perhaps this effect is achieved simply due to the very small acoustic space of the St. Petersburg hall, so it is a godsend, first of all, not for performing works of a large symphonic (operatic-symphonic) form, but for holding chamber-ensemble or solo-instrumental evenings, equal as vocal-chamber and vocal-orchestral gala concerts and recitals. It is not surprising, therefore, that in St. Petersburg the overall density of the orchestral sound both when played by Debussy and when played by Berlioz turned out to be somewhat higher than in Moscow.

"Is this good or bad?" - at such a stop, this question is generally not legitimate, because the acoustic output of this or that room, which the conductor must listen to and control from the side of the audience part of the hall, has always been - in any case, it must be! - the subject of his close attention, as, say, the balance of orchestral groups. And, of course, with regard to the sound dynamics for a specific symphonic score and a specific hall, the conductor must make appropriate corrective decisions each time. For example, I was more impressed by the performance of "Fantastic" in Moscow, but in St. Petersburg I also got great pleasure, because in the interpretation of Tugan Sokhiev, the slightly denser overall sound of the entire score had nothing to do with banal overexposure (although in the practice of performance in our concert halls like this, alas, is still often found). The orchestral sound definitely remained within the stylistics of an unusually refined, still accentuated on nuances and, at the same time, surprisingly "soft", enveloping the ear of the conductor's message. The observation is very useful and interesting, because it gives a quite tangible auditory correlation between two fundamentally different concert halls: the traditionally classical and the ultra-modern.

A real repertoire and performing zest appeared in the program of the St. Petersburg concert (it was not in Moscow). Repertoire - because Iber's work, rare for our academic concert halls, was performed - Concerto for Flute and Orchestra. Performing - because the outstanding Swiss flutist virtuoso was the soloist in it. Moscow, of course, is included in the extensive track record of this musician's performances, but personally I first discovered his bright extraordinary talent at this St. Petersburg concert. Emmanuel Payu was born in Geneva in 1970. In 1990 he graduated from the Paris Conservatory, receiving first prize. He was the winner of major international competitions. At the age of 22 (!) He became concertmaster of the flute group of the Berlin Philharmonic Orchestra (at the time when it was directed by Claudio Abbado). In 2002, after a sabbatical, during which he taught at the Geneva Conservatory, the musician returned to the orchestra and became a member of its leadership. In June 2009, the performer was awarded the title of the Knight of the Arts of France for his outstanding contribution to the art of music.

The premiere of Ibert's Concerto for Flute and Orchestra took place in Paris in 1934. It was performed by the famous virtuoso Marcel Moise, for whom this work was written. Despite the fact that this opus clearly absorbed all the "broken" discreteness, all the anxiety of the restless melody of the technocratic XX century, for the listener of the XXI century, against the background of the completely obvious melodic decline of modern academic music, this opus by Ibert is perceived almost as an example of high classics - classics of the first half of the 20th century. Virtuosity and subtle lyricism, whimsical melodic figurations and the rapid development of musical mood - all this combines Ibert's Flute Concerto. And all this is absolutely aristocratic, with a genuine feeling of musical gourmand, comes to life in the melodious "silvery-tender" sound of Emmanuel Payu's flute. The orchestral accompaniment of Tugan Sokhiev, in interaction with the solo instrument, exhibits an amazingly sensitive "yielding" delicacy, and the final rondo of the concert ( Allegro scherzando) becomes a real feast of the virtuoso-instrumental technique, which seemed to have been forgotten in the twentieth century "Di bravura".

That evening, the National Orchestra of the Capitol of Toulouse was generous with an encore. It was evident from everything that Tugan Sokhiev was simply glowing with happiness and pride. And there is every reason for such a manifestation of feelings: the talented conductor got a rare opportunity to perform with the orchestra he leads in St. Petersburg, the city with which his formation as a musician is connected, the city in which he first conducted many opera performances at the Mariinsky Theater. The Czech dance Furiant (No. 1 from Dvořák's Slavic Dances, Op. 46) sounded like the first biss. Then, with an elegance that only French musicians can probably be capable of, the overture to Bizet's opera "Carmen" was performed, and the encore triptych was completed by a completely unexpected "dramatically piercing" orchestral piece - an intermezzo from Leoncavallo's opera "Pagliacci" ... And the wonderful evening was over, and I really wanted it to go on!

symphony orchestra based in Toulouse. Since the beginning of the 19th century - the orchestra of the local opera house, called the Capitol Theater (fr. Théâtre du Capitole, due to its location in the Capitol building - the Toulouse town hall), since 1974 it has also functioned as a concert orchestra.

The Toulouse Capitol Orchestra did not enjoy the reputation of a group worthy of attention until the conductor Michel Plasson, appointed a year earlier by the director of the theater, decided to transfer the orchestra's home site to the hall of the Grain Market (fr. Halle aux grains), which was used as a sports complex for the previous 25 years. The debut season of the orchestra in the new hall and the performance of a cycle from all of Ludwig van Beethoven's symphonies and concerts were extremely successful. 12 years later, the orchestra was awarded the title of National. In and g. The orchestra was awarded the Victoire de la Musique prize as the best instrumental ensemble in France, in, and in. this award in the category "Best Recording" was awarded for discs with the participation of an orchestra (respectively, for an album of piano music by Maurice Ravel and Claude Debussy performed by François René Duchable, opera Leo Delibes "Lacme" and Georges Bizet "Carmen").

In Plasson, he resigned from the post of head of the orchestra. In the city, the young Russian conductor Tugan Sokhiev became the chief guest conductor, with whom he became the chief conductor of the orchestra.

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Excerpt from the National Orchestra of the Capitol of Toulouse

The conversation fell silent, the soldiers began to pack.
- You see, the stars, passion, and burn! Tell me, the women spread the canvases, - said the soldier, admiring the Milky Way.
- This, guys, is for the harvest year.
- Drovets will still need.
- You will warm your back, and your belly is frozen. Here is a miracle.
- Oh my God!
- What are you pushing, - is there a fire about you, or what? See ... fell apart.
Because of the silence that was being established, snoring was heard of some who had fallen asleep; the rest turned and warmed themselves, occasionally talking. From a distant fire, a hundred paces away, a friendly, cheerful laughter was heard.
“See, they are rumbling in the fifth company,” said one soldier. - And what a passion for the people!
One soldier got up and walked towards the fifth company.
“Sometimes it’s laughing,” he said, returning. - Two guardians have joined. One is frozen at all, and the other is so courageous, byada! The songs are playing.
- Oh oh? go see ... - Several soldiers walked towards the fifth company.

The Fifth Company was standing close to the forest itself. A huge bonfire burned brightly in the middle of the snow, illuminating the branches of the trees weighed down with frost.
In the middle of the night, the soldiers of the fifth company heard footsteps in the snow and the grunt of branches in the forest.
“Guys, witch,” said one soldier. Everyone raised their heads, listened, and out of the forest, into the bright light of the fire, two human figures, strangely dressed, stepped out, holding each other.
They were two Frenchmen hiding in the forest. Hoarsely speaking something in a language incomprehensible to the soldiers, they approached the fire. One was taller, wearing an officer's hat, and seemed quite weak. Approaching the fire, he wanted to sit down, but fell to the ground. Another, small, stocky, tied with a kerchief over the cheeks of a soldier, was stronger. He raised his comrade and, pointing to his mouth, said something. The soldiers surrounded the French, spread an overcoat to the sick man, and brought cereals and vodka to both of them.

A special guest of the festival "Vladimir Spivakov invites" is the famous European ensemble from France, the National Orchestra of the Capitol of Toulouse, which is now led by our compatriot Tugan Sokhiev. The orchestra originated at the beginning of the 19th century at the Toulouse Opera House, and the theater was located in the Capitol building, the city hall, hence the name. By the middle of the 20th century, it was already developing independently and gradually earned the status of the National. At the concert on October 25 at the International House of Music, a pianist with whom "every note is a pearl" was soloing. This is what they say about the pianist Jean Yves Thibaudet. Tell

In the French ensemble - with the arrival of a new conductor - Russian became almost native; and these are not all changes. Conductor Tugan Sokhiev, a graduate of the St. Petersburg Conservatory, quickly mastered French and first of all set to work on the repertoire.

“Since 2005, we have actively begun to popularize Russian music of both the 19th and 20th centuries,” says Tugan Sokhiev, artistic director and conductor of the National Capitol Orchestra of Toulouse.

The choice of Rimsky-Korsakov's symphonic suite is not accidental. According to Tugan Sokhiev, “Scheherazade” refutes the stereotype that only our compatriots can perform Russian music.

“Tugan brought to the collective not only the Russian repertoire, but also the manner of performance of Russian music. He practically changed the sound of the orchestra's string group, we play with a different sound, ”explains the concertmaster of the National Orchestra of the Capitol of Toulouse, Genevieve Laurenceau (France).

This special sound has become their trademark. Wherever the National Orchestra of the Capitol of Toulouse plays, it cannot be confused with any other.

Tugan's longtime partner and colleague is the famous French pianist Jean-Yves Thibaudet. Between Zurich and Geneva - again performs in Moscow. Dressed with a needle, pays special attention to appearance. He still remembers the story with red socks, which he wore with a tailcoat to concerts, with a smile.

Oh, that was many years ago, but nevertheless, I think dressing academically is very boring. I in every possible way welcome the artists' attempts to look bright, elegant, unusual on stage, ”says Jean Yves Thibaudet.

Jean-Yves Thibaudet generally loves experiments. He tried himself in jazz, worked in films, performed with opera divas. In his traditional role as an academic soloist, this evening he performs Liszt's Second Concerto.

He replayed all Liszt, calls him a fantastic virtuoso pianist and original author.

“Everyone is used to the fact that Liszt's concerts are technical, but this Second Concert shows Liszt to others - deep, thoughtful,” explains Jean-Yves Thibaudet.

With his performance, Jean Yves Thibaudet graced the large-scale program of the Moscow Music Festival “Vladimir Spivakov Invites”.

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National Orchestra of the Capitol of Toulouse

National Orchestra of the Capitol of Toulouse(fr. Orchestre national du Capitole de Toulouse ) is a French symphony orchestra based in Toulouse. Originally - the orchestra of the Toulouse opera house, called the Capitol Theater (fr. Théâtre du Capitole) due to the location in the Capitol building - the Toulouse town hall.

The orchestra did not enjoy the reputation of a noteworthy ensemble until, in 1974, conductor Michel Plasson, appointed a year earlier by the director of the theater, decided to transfer the orchestra's home site to the hall of the Grain Market (fr. Halle aux grains), which was used as a sports complex for the previous 25 years. The debut season of the orchestra in the new hall and the performance of a cycle from all of Ludwig van Beethoven's symphonies and concerts were extremely successful. 12 years later, the orchestra was awarded the title of National. In 1993 and 2000 the orchestra was awarded the Victoire de la Musique prize as the best instrumental ensemble in France, in 1997, 1999 and 2004. this award in the category "Best Recording" was awarded for discs with the participation of an orchestra (respectively, for an album of piano music by Maurice Ravel and Claude Debussy performed by François René Duchable, opera Leo Delibes "Lacme" and Georges Bizet "Carmen").

In 2004, Plasson retired from his post as orchestra leader. In 2005, the young Russian conductor Tugan Sokhiev became the Principal Guest Conductor, and from 2008-2009 he was the Chief Conductor of the orchestra.

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