Making his Toronto debut was French pianist Lucas Debargue, playing Franz Liszt’s Piano Concerto No. 2, which found its final form in the early 1860s. Debargue made waves at the Tchaikovsky Competition in Moscow two years ago. He took fourth place, which left the many audience members and critics who had fallen in love with his performances deeply upset. Debargue created enough of a sensation to land prestigious concert and recital dates, has since released a couple of albums with Sony, and has even found time to complete a music degree.
The pianist took the poet’s approach to Liszt’s work, caressing the keyboard on the German-made Steinway grand like an expert musical seducer. He found languors in the score that many other pianists charge through with a greater sense of purpose. Debargue and Boreyko were in perfect sync throughout the concerto, but the lack of movement in its slower sections heightened the multiple contrasts and shifts of mood in the piece to the extent that the overall interpretation felt a bit disjointed.
Although the Liszt concerto is a great showcase for a pianist’s technique, it is a fairly garish sort of creation, especially when the orchestra breaks out in a high-stepping march-like riff toward the end of the piece. Liszt wins in the listen-to-this department, but not in sensitive craftsmanship.
Debargue treated the audience to a solo encore, Erik Satie’s Gnossienne No. 1, further demonstrating the delicacy of his touch and his desire to make every line of music, no matter how simple, sound as beautiful and polished as possible. It was a pleasant antidote to the sturm und drang of Liszt’s extroverted pianistic excursion.http://www.musicaltoronto.org/2017/04/13/scrutiny-tso-and-conductor-andrey-boreyko-engage-in-struggle-of-style-versus-substances/
Рецензент ошибся. Это не был дебют Дебарга в Торонто, 12 апреля он впервые выступил с симфоническим оркестром Торонто.