Orchestral exhibitions in different ways, this could probably be the common denominator of selected concerts of the Prague Spring this week. But the brilliance also has different forms. And she does not always give her life.

The Tuesday concert of the Swiss ensemble Tonhalle-Orchester Zürich, led by the French native Lionel Bringuier, offered genuine orchestral brilliance in the most classic sense of the word. One that rescues the masters of composers and the art of musicians from the superficial cheap effect.

The Rugby song by Arthur Honegger depicts, as the name implies, the atmosphere of a sports match, and Honegger himself was an enthusiastic athlete. However, with the concave ball, it is so rhythmically and harmonically very sophisticated. Benjamin Britten's piano concert is one of the early compositions of the author, and although his creative link is not at the top, the author's original ability to experiment without abandoning the "solid ground" of tradition is already evident.

And finally, the Sheherazade by Nikolai Rimsky-Korsakov is a geyser of orchestral ideas and colors inspired by exotic lands. Norwegian pianist Leif Ove Andsnes performed the solo part in Britten without the slightest hesitation, the orchestra played all the songs relentlessly, lightly and softly, and with a four-year-old Bringuier, he obviously understood. As a bonus, they played Debussy Gardens in the rain.

Also, the Budapest Symphony Orchestra, who sat at the Municipal House on Thursday, understands with his boss Ivane Fischer. However, in this case, it is a kind of consensus that goes beyond standard scales. Fischer set up the body for the year1983 a still leads him, which is in the musical world endurance quite unique.

The orchestra is naturally constantly changing, but it is obvious that even though it plays such a complicated work as Gustav Mahler's 2 "Resurrection" Symphony No. 2, he does not need any significant instructions from the conductor. Rather just a kind of "gesture" gestures or their hints that the musicians read with absolute self-esteem.

This work, in all content, belongs to Mahler's most spectacular symphonies, and also uses two female solo voices and choir. What did the Hungarians do with the Royal Concertgebouw Amsterdam, who had played Mahler Symphony No. 1 a few days ago at the Prague Spring, who seemed to be listening to this monumental work not as a colossus but as a chamber testimony, with all the instruments distinct and clearly articulated.

Thanks to the arrangement of the percussion section on the organ emporium besides the Czech Philharmonic Choir Brno, the slim, transparent sound perfectly fit into the overall concept. Altist Elisabeth Kulman sang the solo "Urlicht" (The Light) with an oddness, like an ecstatic but also a simple song. Her voice moved to the hall without difficulty.

In the last sentence, the soprano with the supporting lyrical voice Christiane Kargova joined her and after the last tune it was clear that one of the biggest festival events was over. The audience, almost like a man, jumped out of the seats, and nowadays "standing ovations" have anyone, often without a special reason, in this case.

Honor to Bernstein
The Czech Philharmonic is also used, especially in recent years, for a stormy ovation, so perhaps it was surprising that after the first half of her Friday concert the audience in the Municipal House remained reserved.

Tonight, Leonard Bernstein had to give up his tribute to his European debut in the first year of the Prague Spring in 1946. Thus, they also symbolized the two songs that he then directed: El Salon Mexico from Aaron Copland and Second Essay by Samuel Barber. A suite of Bernstein's music was also selected for the film On the Waterfront.

American conductor Keith Lockhart, who heads the Boston Pops Orchestra, devoted to film music, musical, and all communication between classics and pop, however, either did not manage to communicate with the Czech Philharmonic or had little time for it. Its members have put into play all symphonic brilliance, but they are musical areas in which brilliance is necessary, but at the same time it is assumed that the musicians will not be relegated. And that did not work well.

Even more striking was the second part of Bernstein's musicals. The orchestral parts, whether it was a prelude to Candid or Mambo from the West Side Story, were precisely played, but it was a bit of precision. He does not want to believe that the Philharmonic Orchestras did not want to "take off", rather it did not encourage the conductor to encourage them.

Much more "lived" before the orchestra. Prague singers arrived in Prague, moving to the British musical scene. Vojtěch Dyk, who himself devotes himself to Bernstein, reports his Mass, from which he sang a show. It has also been added in some other numbers, perhaps in the famous Tonight. In his entry, he said he had "jawed" at the first listening of his colleagues from Britain. You can trust him.

Indeed, the way Celinda Schoenmaker sang the famous Aria from Candida would fall on her jaw to many opera sopranists, not only Czech but also several worlds, as Candida's opera scenes are also occasionally played. It was virtuoso, in the form of no camouflaged or chirping singing, which certainly did not make the opera with its strict technique. Full-fledged professionals have also shown her colleagues. They all really sang, did not bow to anything, singing and singing something, and performing actor's etudes.

And, to the end, one said that with all due respect to Bernstein's composer as a whole, he was truly unique in one area, namely in musicals.