The Orchester de Paris organizes its first summer academy to ensure its succession
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Since its creation in 2003 under the aegis of the German conductor Christoph Eschenbach, the Académie de l’Orchestre de Paris has had a summer session for the first time, including the concert on September 4 at the Philharmonie de Paris was the highlight. Inspired by actions developed in Germanic and Scandinavian countries, this initiative aimed at facilitating the integration of young professional musicians remains a rarity in France. It is not surprising that the institution received some 490 applications from all over the world for the 27 places offered by this intensive six-day course supervised by around forty musicians from the Orchester de Paris under the direction of the assistant conductor, Sora Elisabeth Lee, and the musical director, Klaus Mäkelä, who advanced his stay in Paris, before the official concerts of resumption of September 8 and 9.
Proof that the operation, sponsored by the house of optics and hearing Acuitis as well as by the Danish manufacturer of high-end hearing aids Widex, goes beyond the circle of musicians alone: more than 1,400 seats for this free concert been spontaneously reserved by the public without any communication other than the usual posting of the schedule. The concert began with the orchestral suite written by Gabriel Fauré from the Pelléas and Mélisande by Maeterlinck. A refined and sensual music distilled by the precise baton of Sora Elisabeth Lee. The “veterans” of the Orchester de Paris have put forward their academicians in the solo parts, which they perform without apparent excitement, already very seasoned on the instrumental level – the flautist Pierre Hurbli, the oboist Pauline Cambournac, clarinetist Sungho Lee.
Intensive days
Usually devoted to the strings, the Academy 2022 has indeed chosen to involve the winds. What brilliantly illustrates extracts from Dream of a summer night of Mendelssohn in the arrangement for winds and double bass realized by Andreas Nikolaï Tarkmann, which will see the tutor clarinetist, Philippe Berrod, watch over the grain in the spiccato lines of the Choir of Elves. The famous wedding march showcased the young French horn players Clémence Lion and Elodie Baert.
Met after the concert, the two musicians will not run out of enthusiasm, overwhelmed by these intensive days which have allowed them to get to grips with this very specific work of the orchestral musician, which one does not learn anywhere else. What Klaus Mäkelä expresses in these terms in the room program: “The most important thing is to learn teamwork (…). You put yourself at the service of something bigger than yourself and you learn flexibility. » The two young women were particularly sensitive to the proposal of activities other than music, such as yoga or postural work with a physiotherapist in order to avoid or correct the physiological problems linked to the practice of the instrument, a subject still very often taboo among musicians of previous generations.
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