“MOZART: THE DAWN OF REVOLUTION CONCERT “ LED BY THE BRILLIANT ALEXIS KOSSENKO

Alexis Kossenko

Location: Bourgie Hall, Montreal, January 12, 2 p.m.

Arion Baroque brought passion to the podium with conductor and flautist, Alexis

Kossenko 

What an exciting concert – not just because of the magnificent musicians’ performance of a well-knitted program, but because, conductor, Alexis Kossenko understood each work and made it his own  sinew and soul. Wafting hands, bending knees, tilting his head with eyes so expressive with each phrase performed, the French conductor showed how compositions by Gossec, Mozart, Devienne and Haydn are meant to be interpreted.

Mr. Kossenko’s virtuoso flute playing was flabbergasting – as heard in his stunningly sensitive performance of Devienne’s “Concerto no. 7 in E Minor”. At one point, it seemed like he was playing two notes simultaneously as he blew into his flute beautifully matched with superfast finger dexterity  This opening Allegro was played with robust attack by the orchestra, yet not a note went wayward. The timing between flute and orchestra was impeccable.

My favorite work was a new surprise for me and others. A perfect composition, François Joseph Gossec’s “Symphony no. 2 in E-flat Major” is so stirring in contrast with subtlety in the opening Largo, and drama in the final Allegro without overkill, this work reveals why this Mannheim school-influenced composer was a darling among the French aristocratic, and why he was considered the father of the symphony in France. The saintly sonority and godly balance between string and winds flowing into the five uninterrupted movements makes its own epiphany: there is perfection on earth and you can hear it.

And then there was Mozart – specifically heard here in “Symphony Concerto in E-flat major”. The blend of flute, oboe, bassoon and horn was a shew-in for Arion’s Co-artistic, director Matthieu Lussier to arrange. The story on this piece is it was lost but then came to light in contemporary times, but the composer of it remained a mystery. The work though impeccably performed was not a stand-out composition. Mr. Lussier is a brilliant bassoonist and he polished of lightning-speed passages with panache. I must signal the stunning tone and playing of the oboist whose name was not featured in the program notes, and it should have been.

Finally, Haydn’s “Symphony No. 85”, “La Reine”. Dashingly dotted by rhythms both turbulent and tender with rapid scales that embody the traditional French overture also featured the popular French song, “le gentile et jeune Lisette”.  Romance, Minuet and Vivace form a collage of exciting movements where drama, anxiety and sweetness fall perfectly into sequential variation. Perfection!

Contact www.arionbaroque.com to get tickets to Arion’s next concerts in February. Bach is the biggie on the program. Call 514-355-1825.

Pompeii’s Vitality and Tragedy Unearthed in Atmospheric Exhibit

at Montreal Museum of Fine Arts, May 2016

Vesuvius leaves its lasting legacy

 On August 25^th, 79 A.D. Mount Vesuvius erupted, (Pliny the Younger states two different  dates), the thriving port city of one of Italy’s most prosperous of Roman towns suffered an irreversible catastrophe, and along with this cultural mecca, Herculean and Stabiae.

The exhibit sets the tone immediately. Before entering the first of nine rooms, a black and white still in a projected image of the summit has its moving element; spewing smoke appears. A far more dramatic display of events reiterates this scene on a large scale that clocks in the four eruptions over a 24-hour period – the last of which is the final Tsunami-like covering of the entire town. This film, with some sound effects, mesmerizes viewers; and most would only recall this as the story of Pompeii, had not the other eight rooms brought to life the exuberant daily life and artistic zenith of the town and its inhabitants.  

How clever that the exhibit builds up the bustling, dynamic reality that resonated within Pompeii’s walls! Its houses, shops, outdoor theatres, markets and more are brought to life; there are even background sounds that vividly enhance the visual aspects in the 220 artifacts that viewers can appreciate as they travel back in time.

Historical information is outlined regarding Roman rule and Pompeii’s subsequent uprising against the colonizing yoke that failed. An earthquake in 62 A.D. did nothing to shake the spirited people of Pompeii; it took 17 years to rebuild most of their beloved town. Little did they suspect nor surmise what would soon ensue.

One of the most telling examples of the people was the amazing amount of bakeries – 40 in all – that sprung up everywhere. Some houses even sold bread from the open door. Paintings depict this aspect of food, but ominously displayed near portable kilns, stoves, cooking utensils and more is a half-round loaf of carbonized bread.

Weights in iron and brass, oil lamps, coins dating from 41 to 70 A.D. are on display. Gold, silver and brass constitute their material. Carpenter tools fascinate as do the plumbing outlet faucets and more. Aged with patina, I thought these were remarkably telling of the city’s sophistication in taking care of hygiene and water.

I saw vintage raw axe heads, rusted nails and strange vertical measuring instruments. Amidst the major statues in marble found in various indoor gardens, tables and ornaments in glass, I beheld a dozen pieces of gold jewelry that dazzled in design, brightness and colour.

The four distinct stages of painting, including the masonry technique and trempe d’oeil, a plethora of wall panels and paintings and many scenes in relief along with tiny lares – gods in bronze housed on a shelf as protectors. Details in their art astound; they are priceless pieces of antiquity.

Tessserae – mosaic pieces that are assembled in figurative art, even a strigil, gladiator armour used in battle and more converge to show the diverse activities that travel the gamut from art to fighting – even dice games.

I was not persuaded that each piece was the original – especially in the perfectly smooth totally intact marble pieces, along with the frescoes that were obviously repaired; they were in too good condition to accept as untouched by restorers – all which should have been clarified in writing on the relevant plaque – along with the dates and provenance of many items were lacking. The audio guide surely explained more about each piece, but gallery exhibits usually provide vital written information to the viewer.

Finally, the second last room showed a film and several figures cast in positions of their last breath was unforgettably moving. Thanks to Giuseppe Fiorelli who carefully retrieved many of the dead, pulverized in ash and pumice, 1000 bodies of the 20,000 once very alive inhabitants have been recovered. He was able to get them out using a specific technique, employing casting, the human tragedy lives before our eyes. Overall, this exhibit is appealing, yet I would have liked more explanations of the making of a fresco and the repairing of so many pieces in the lab overseen by Professor Stefano Vanacore, director of the restoration.

View slideshow:

Cinemania Going Strong in its 25th Year

titles originally in French. All films have English subtitles

THE GIRL WITH THE BRACELET (Séphane Demoustier)) **

This is a talking heads in-situ trial film which accuses a girl of killing her best friend for posting a sex scene of her. I was not enamored by this film, but the acting was great. Melissa Guers as Lise, the accused, was excellent. It is a true story.
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 CAMILLE (Directed by Boris Lojkine) ****

 A true story: the CARS war in 2012 in the Central African Republic involved many warring factions. Camille, admirably portrayed by Nina Meurisse is a photo journalist who is compelled to go straight into the heart fo the dangerous action. Muslim Selka fighters go against Christian anti-balaka alliance. Nothing good can come form this, and in fact, Camille is killed in an ambush. This is not shown but detailed at the credits. A brave woman who brought the tragedy moretot the forefront of the world than ever through her photographs.

LA VÉRITÉ (Directed by Hirokazu Kore-Eda) **

A family conflict film: Catherine Deneuve as the aging bitter and acerbic-tongued actress, Fabienne is filming a scene with a younger actress who reminds her of another actress she was very jealous of and ruined her career. Juliette Binoche as Fabienne’s daughter was exquisite. She soared in this understated role. Deneuve is not my favourite actress by all means, but she held her own with her beauty and subtle expressions. The film had so many superfluous scenes and it needed a different editor.

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REBELLES (Directed by Alan Mauuit) ****

A supberb comedy. Three women kill their boss in a canning fish factory for his raping ways, and he gets what he deserves in terms of losing his sex along with his lie. They find a gruesome but ingenious way to hide his body parts, but soon, a lousy rotten man is looking for the bag of cash the women took off with that the now dead boss was carrying. It’s a farce of twists and violence, but all’s will that ends well. The film proves family does not need to be your dad or mom.
                           
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FAREWELL TO THE NIGHT (Directed by André Téchiné) ***

Catherine Deneuve welcomes her grandson back onto the farm after years, but he is a terrorist eager to learn what is needed and to go to Syria. His grandmother finds out and locks him up, but he escapes, and then is recaptured by the police. This was a very interesting film that shows family ties count for nothing when a fanatic is on the loose. Well acted by the cast, most of whom was unknown except for the grand dame herself. I liked this low-key film.

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THE WOLF’S CALL (Directed by Antonin Baudry) ****

A great thriller by this hard-working first-time director. On a rescue mission off Syria, submarine Titan’s brilliant sonar officer. A mysterious sound ends up being a Russian sub that was supposed to have been put out of service years ago. It is keen on launching a nuclear missile, and the other sub is ordered to blow it up, but things go very wrong. Suspenseful, yet hard to follow at times, the film made impact in an intense way. These errors of judgement can happen in war, and what happens to the hero of the film is truly amazing.

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YOU DESERVE A LOVER (Directed by HAFSIA HERZI) bomb

Please actors, stop making debut films that put you as the lead and shows you in every shot. A soft prom film where a girl messes around with different guys over a 3-day period.  Lila, is the name of the silly girl played by the director. A useless story, but the actor who is gay and plays a gay guy was great. He was the only entertainment factor in this narcissistic film. The actress had no charisma and from what I could see, little acting experience.

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 LES MISÉRABLES (Directed by Ladj Ly)***

In a project neighborhood in France A young black kid gets shot by a bad cop and they try to cover it up. But joining the new team is Stéphane, a cop with a heart and conscience. By chance, a drone flew over the incident, and do Chris, the horrible cop tries to find him to get rid of the evidence.  In the end, the kid and his gang of friends in the hood get their revenge. The ending is lame and ambiguous. A tale of corruption and victimization against blacks and Arabs.

More detail:

Stéphane joined the Anti-Crime Brigade of Montfermeil. He meets his new teammates, Chris and Gwada, and discovers the tensions between the different groups of the district.
Screened at Cinemania 2019