Robert Treviño returns to London Symphony Orchestra after nearly a decade, and it was worth the wait. The American conductor, known for his subtle yet powerful style, made a lasting impression on the audience with his well-programmed concert.
Treviño's podium presence may be understated, but his gestures exude authority and contain a coiled-spring muscularity that adds depth to his interpretations. This was evident in a sequence of programs that spanned 20th-century and 21st-century works, including the enigmatic Hymne by Olivier Messiaen.
Messiaen's 1932 piece is an immanent, mystical sound ritual that was skillfully grounded by Treviño. The London Symphony Orchestra's strings and woodwinds created a sonic landscape reminiscent of a cathedral, allowing the intricate structures of the work to shine through despite the turbulent emotions evoked.
The concert also featured Márton Illés's 2019 Vont-tér – a single, continuous movement that strips away traditional notions of virtuosity and lyricism. The piece was performed by Patricia Kopatchinskaja in collaboration with the chamber-sized London Symphony Orchestra. While it may not have provided any direct insights into the connection between Messiaen or Rachmaninoff, the work created a haunting textural dance using techniques such as shudders, creaks, and cracks.
Treviño's approach to Rachmaninoff's Symphony No 2 was notable for its balance of monumentality and pace. The piece was transformed into a cinematic experience, with melodies constantly in motion and an integrated web of themes that kept the music flowing smoothly from start to finish. Treviño skillfully navigated the work's complexities, never letting it become too heavy, but rather propelling it forward towards its triumphant finale.
Treviño's podium presence may be understated, but his gestures exude authority and contain a coiled-spring muscularity that adds depth to his interpretations. This was evident in a sequence of programs that spanned 20th-century and 21st-century works, including the enigmatic Hymne by Olivier Messiaen.
Messiaen's 1932 piece is an immanent, mystical sound ritual that was skillfully grounded by Treviño. The London Symphony Orchestra's strings and woodwinds created a sonic landscape reminiscent of a cathedral, allowing the intricate structures of the work to shine through despite the turbulent emotions evoked.
The concert also featured Márton Illés's 2019 Vont-tér – a single, continuous movement that strips away traditional notions of virtuosity and lyricism. The piece was performed by Patricia Kopatchinskaja in collaboration with the chamber-sized London Symphony Orchestra. While it may not have provided any direct insights into the connection between Messiaen or Rachmaninoff, the work created a haunting textural dance using techniques such as shudders, creaks, and cracks.
Treviño's approach to Rachmaninoff's Symphony No 2 was notable for its balance of monumentality and pace. The piece was transformed into a cinematic experience, with melodies constantly in motion and an integrated web of themes that kept the music flowing smoothly from start to finish. Treviño skillfully navigated the work's complexities, never letting it become too heavy, but rather propelling it forward towards its triumphant finale.
! his conductor style is like, so subtle yet powerful at the same time - you don't even realize he's there until he really is 
and then BAM! his gestures are like a coiled spring just waiting to unleash this amazing energy 
it's like he took this mystical sound ritual and grounded it in reality - the strings and woodwinds were like a cathedral come to life 
and Patricia Kopatchinskaja's performance of Márton Illés's Vont-tér was hauntingly beautiful 
the melodies were always in motion, the themes intertwined like a web... I felt like I was transported to another world 
. i loved how treviño kept the tempo going without letting things get too intense or overwhelming - his understated style is so underrated! 
! His subtle yet powerful style is simply captivating, and his gestures on stage are like a symphony of their own - so much authority and energy, it's infectious 
. The way he tackled Messiaen's Hymne was pure magic, creating this immersive sonic experience that had the audience totally entranced 
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. Can't wait for his next concert! 
. It's not like they're doing anything revolutionary or groundbreaking with the music, so a little extra exposure wouldn't hurt. Having to rely on old news articles and word-of-mouth is really limiting for us online fans 
. And can we please get some better audio quality? The descriptions are making this concert sound amazing, but unfortunately, I don't have the chance to experience it myself 
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i loved how she stripped away all the traditional notions of virtuosity and lyricism and just let the textures dance around each other in this haunting way 
all in all, totally worth the wait! 
. The Messiaen piece was insane, it felt like we were in a cathedral or something all mystical and whatnot 
. And Rachmaninoff's symphony? 
. The whole concert was like a masterclass - I'm so glad he's back with the LSO 
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. His style is so subtle yet powerful, you can feel the energy emanating from him even when he's not saying much *wink*. The way he brought out Messiaen's Hymne was pure magic 
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just listened to this concert with Robert Treviño and I'm still buzzing from it! his way of leading the orchestra is like a slow-burning fire that gets more intense as it builds up... he's got this amazing balance of power and restraint, it's like he's drawing out all the emotions from the music without ever hitting you over the head with them. the way they did Messiaen's Hymne was seriously mind-blowing - I mean, I've heard it before but never felt it that deep...
. I mean, I've heard of the piece before, but I didn't know it could be so powerful with just the right gestures on the podium 
and oh man that messiaen hymne piece gave me chills!!! 
it's clear he knows what he's doing, from setting up the strings to creating this whole sonic cathedral vibe 
. i love how he balances the monumentality of rachmaninoff with some serious energy 
. I loved how the strings and woodwinds created this stunning cathedral-like atmosphere 
. Treviño's Rachmaninoff Symphony No 2 was just pure cinematic magic 
. Can't wait to see what he does next! 
. And then there's Rachmaninoff's symphony - Treviño really knows how to balance all those complex themes without it getting too heavy 
. The way he worked Messiaen's Hymne was truly magical - I felt like I was transported to another world 
. and treviño's take on rachmaninoff's symphony 2 was pure magic 
and those gestures, wow! they're like he's got this inner energy just waiting to burst out 
. and Márton Illés's Vont-tér? mind blown