Ati Metwaly reviews one of classical music's most treasured traditions New Year's concert, Cairo Symphony Orchestra, Cairo Opera Ballet Company, soloist: Camilla Illeborg (soprano), choreographer Erminia Kamel, conductor Marcello Mottadelli, director and artistic supervisor:Abdel Moneim Kamel; 31 Dec and 3 Jan, Cairo Opera House Main Hall; 1 Jan: Sayed Darwish Theatre, Alexandria Regardless of differences in vision, background, orchestra and individual musical calibre, there is one major notion which all artists and orchestras around the world share: the New Year concert. In classical music New Year concerts became a tradition equal to Eid, Christmas or Halloween. When thinking about New Year concerts, the Strausses (Johann I, Johann II, Josef and Eduard) are the first family that comes to mind, naturally before our own. For some, New Year doesn't really begin if not inaugurated by vivacious polkas, marches, and splendid waltzes. All around the world, music ensembles, small and big orchestras, professionals and amateurs prepare a special programme for their audiences. This is also when we all look up to the Vienna Philharmonic Orchestra, New Year's queen and hallmark. Clemens Krauss, Herbert von Karajan, Claudio Abbado, Zubin Mehta, Ricardo Muti, Daniel Barenboim are a few of the greatest names who conducted the Vienna Philharmonic Orchestra on this special occasion over the past six decades. Every consecutive year, on 1 January, tens of millions of classical music lovers, advanced and beginners, young and old, tune into transmissions. This year was no different. Accompanied by millions of other Viennese New Year concert regulars from over 70 countries, we followed the orchestra conducted by Georges Prêtre. Not much to say; it was... simply... perfection: sensitivity, artists' dedication, the controlled energy of the conductor, his respect for the music, musicians and audience, within the utmost understanding of the music, its traditions and culture. All this was crowned with the lavish and highly aesthetic surroundings. One cannot ask for more when looking into the New Year, silently envying all those who attended the event in person. Orchestras around the world perform New Year concerts, all of them presenting quite a predictable programme, often with an even more predictable sequence; yet it never ceases to capitavte and enthrall. The mesmerising waltz On the Beautiful Blue Danube (Johann II Strauss) is one of the standard diamonds. The triumphant Emperor Waltz ( Kaiser-Walzer by Johann II) is enchanting, with its beautiful violin lines against strong trombones at the end, definitely an Austrian specialty -- since only Austrian orchestras can capture its characteristic accents, except rarely. Tritsch-Tratsch-Polka (Johann II) is a very fast musical picture of chit-chatting whose coquettish character is universally loved. Pizzicato Polka (Johann II and Josef) speaks for itself and the unity of its strings unity bring it to the light. Several other examples -- Der Carnival in Paris (Johann I), Perpetuum Mobile (Johann II),and Champagne Polka (Johann II), rarely performed in Egypt, as well as Sphören-Klönge ( Music of the Spheres, Josef Strauss) and many more pieces are staples of the New Year concert all over the world. This year, the Cairo Symphony Orchestra, conducted by Marcello Mottadelli, was seated in the orchestra pit leaving its traditional place on stage to the Cairo Opera Ballet Company and guest soprano (Camilla Illeborg). The evening included many of the well known works topping them with additional pieces meant to capture the audience's hearts. Performed twice in Cairo and once in Alexandria, it was a rather original production -- more so than a concert -- incorporating orchestra, ballet, a soprano, and abundant yet very inconsistent décor. Criticising the whole thing as I saw it on the third and last night would neither please the artists who obviously made much effort despite the lack of a single consistent thought, nor would it give justice to many talented musicians of the Cairo Symphony Orchestra. Throughout the whole evening solos by flute, oboe, clarinet and cello were shining on several occasions, unfortunately unable to stand out in the midst of the entire production. Many individual musicians' preparations faded in the lack of one articulate line given by the conductor, who eventually left his podium to the konzertmeister before the end of the concert. Traditionally performed as the end piece, Radetzky March (Johann I) is a delicious treat for an audience clapping with the orchestra, to the conductor's instructions. Mottadelli chose to drop all the musical values and use the March as a typical performance finale during which the artists come up on the stage, including himself (along with the Cairo Opera Ballet Company and soprano), to the orchestra's accompaniment from the pit. The New Year concert can be a tricky game; its omnipresence gives audiences a huge choice, but it also creates spontaneous comparisons in which the sense of musical value, tradition and aesthetics are especially awakened. Radetzky March continued... The audience stood up and while clapping incoherently started leaving the hall, before the March ended...Not the end the orchestra was waiting for, definitely not what the New Year concert is about. This is not a regular concert but rather a tradition, performed in a specific way, and beloved by the audiences as such; there can be no good reason to change it. On the other hand, one cannot help wondering why the Cairo Symphony Orchestra should share its only night -- a guaranteed full house -- with the ballet taking the stage, leaving the orchestra in the background. New Year concerts gather families and friends who admire the music; they also provoke retrospection, raise questions and hopes for the future. Over the past year the Cairo Symphony Orchestra offered many astounding concerts, testifying to its artistic capabilities. Barenboim's visit in April serves as one of the best arguments to prove that the Cairo Symphony Orchestra is able to excel with its clear sound and precision, as it did in Beethoven's 5th Symphony. On the one hand Barenboim's charisma and skill can scarcely be competed, but on the other hand it was the Cairo Symphony Orchestra musicians who held the instruments and gave the brilliant performance. Equally, a few local conductors have the power to bring the best out of musicians. Several symphonic and chamber concerts gained the hearts of many audience members: 2009 did not spare us some other interesting treats in ballet and opera sectors. No doubt the Egyptian classical music scene has lots of talented professionals and skillful performers. It also has much potential. Let us hope that 2010 will bring better artistic stability and coherence.
