Kenneth Montgomery. Le chef irlandais est ravi de diriger pout la première fois l'OCG au Grand Théâtre.

Kenneth Montgomery. The Irish conductor is thrilled to be conducting the Geneva Chamber Orchestra for the first time at the Grand Théâtre.

«... Le choix du chef Kenneth Montgomery, sensible aux interprétations authentiques, achève enfin d'équilibrer l'ensemble de ces données.»

"... A supporter of authentic interpretations, the choice of Kenneth Montgomery as conductor was judicious as he balanced well the complexity of the production."

[Marcel Quillévéré, artistic director of the Geneva Chamber Orchestra]

L'Orchestre de chambre de Genève, qui occupait pour la première fois la fosse de l'Opéra, a surpris par son adresse et sa maîtrise des instruments anciens dans le répertoire baroque sous la conduite éclairée de l'Irlandais Kenneth Montgomery.

The Geneva Chamber Orchestra, making its debut in the pit of the Opera, surprised with its skill and mastery of authentic instruments in baroque repertoire under the enlightened guidance of Irishman Kenneth Montgomery.

La divine surprise vient enfin de la fosse, où l'Orchestre de chamber de Genève était pour la première fois confronté à une production du Grand Théâtre. En compagnie du chef Kenneth Montgomery, la phalange a été ovationnée pour son jeu vif, nerveux et précis. Cet Ariodante peut donc être consommé les yeux fermés.

In the end the heavenly surprise came from the pit, where the Geneva Chamber Orchestra was confronted for the first time with a Grand Théâtre production. In company with conductor Kenneth Montgomery, this "phalanx" received an ovation for its playing - lively, vigorous and precise. This Ariodante is best enjoyed with eyes closed.

La frontière entre apparence et réalité, mensonge et vérité, le metteur en scène la situe en répétition, de nos jours. Sur les murs noirs se dessinent en direct, au trait blanc, les personnages costumés. Entre ces deux mondes destinés à se compléter et à se rejoindre, un abîme se creuse pourtant, que seule la musique parvient à combler, magnifiquement.

C'est ainsi dans la fosse rehaussée que se tissent les délicatesses haendeliennes, sous le geste accueillant de Kenneth Montgomery. Le chef a disposé L'OCG de profil, ce qui permet une écoute fine entre le plateau et les instrumentistes, et une direction attentive aux moindres frémissements vocaux. Le résultat est saisissant tant l'OCG se révèle d'une parfaite sensibilité baroque et d'une technique irréprochable.

Only the music bridged the two worlds that were destined to complete and meet each other; and it did so magnificently.

It was thus in the orchestra pit that Handel's delicateness came to form under the soothing hand of Kenneth Montgomery. The conductor placed the orchestra sideways, which allowed for finer attention to be paid to the space between the stage and the instrumentalists, as well as to even the softest of vocal sighs. The result was stunning, as the Geneva Chamber Orchestra demonstrated a perfect baroque sensibility and an irreproachable technique.

Kenneth Montgomery and the unsung Orchestre de Chambre de Genève, an ensemble that has never graced a pit before, give a surprisingly rounded performance. True, Montgomery starts conventionally with a stodgy overture, like Raymond Leppard years back though with slightly more zip, but then he quickly converts the orchestra to baroque technique while avoiding dryness with broad, emotional phrasing. The natural horns are spot on, the strings alert and generous.

With the Orchestre de Chambre de Genève in the pit, under the direction of Kenneth Montgomery, this miraculous score was given its full worth. The musical performance received a rapturous reception...

Montgomery's perfectly paced conducting was an ideal compromise between Early-music "authenticity" and a more contemporary approach. The chamber orchestra played with a respect for controlled Baroque phrasing and controlled vibrato but embraced warmer pulsations when tragedy loomed. The continuo players were onstage, giving them an extra prominence that underlined the glorious harmonic invention of the arias.

... une fosse surélevée, occupée par un Orchestre de Chambre de Genève débordant de verve, très inspiré par le chef Kenneth Montgomery ...

... a raised pit, occupied by a Geneva Chamber Orchestra brimming with energy, greatly inspired by conductor Kenneth Montgomery ...

... l'Orchestre de chambre de Genève, caressé avec une infinie attention par Kenneth Montgomery, invente des trésors de douceur et des griffures d'effroi.

Venendo all'esecuzione musicale ginevrina, sulla quale merita certo soffermarsi più a lungo che sullo spettacolo, c'è da lodare la direzione dell'irlandese di formazione inglese Kenneth Montgomery, alla guida dell'Orchestra da Camera di Ginevra, un complesso che suona con strumenti moderni ma con una rarefazione espressiva delicata e carezzevole. La stessa che si intende delineare da una concertazione che pare lontana dalle scansioni dinamiche nervose fortemente contrastate e quasi "strappate" di alcuni complessi di specialisti che utilizzano strumenti originali. Qui tutto risulta leggero, vaporoso, quasi sonante nell'intenzione di donare alle grandi pagine dell'opera, che sono soprattutto quelle elegiache, un sapore estatico che sublima l'astrattezza degli stati d'animo e permette loro di esprimersi attraverso la bellezza di una musica che descrive gli ambienti, o diviene espressione diretta dell'interiorità dei sentimenti dei protagonisti.

... Händels Musik ... wird vom Orchestre de Chambre de Genève unter Kenneth Montgomery mit ihrem kontrastreichen Affekt- und Stimmungsgehalt spannungsvoll zum Klingen gebracht. Dass der Dirigent nicht in der Mitte, sondern seitlich im erhöhten Orchestergraben steht, wirkt sich für die klangliche Kompaktheit vorteilhaft aus, ohne der Transparanz und Leichtigkeit der Intonation abträglich zu sein. Und das von Montgomerys oft rasanten Tempi aufs Äusserste geforderte Sängerensemble hat viele Glanzlichter zu bieten, allen voran Joyce DiDonato in der Titelpartie.