During my recent experience of “Alcina” I made several new and delightful discoveries. One of them was the genius of Marc Minkowski and Les Musiciens du Louvre, Grenoble. I don’t get much opportunity to listen to live baroque orchestras, mainly radio, recordings and TV performances so this was a great treat. I love the very particular techniques of baroque instrumental playing and the visual delight of beautifully crafted instruments.
Experience them here (with thanks to protestant 7) in a performance of the Overture to Act 1 of Rameau’s opera “Platée” which, like most music of the French Baroque, is inextricably linked to the dance.
Minkowski is a wonderful director to watch. I’m sure you have all experienced those conductors who thrash around and generally detract from the performance by being visually overpowering and distracting – at “Alcina” at The Barbican Minkowski showed what a genuine genius of a communicator he is. In the audience, of course, one sees the back view but Minkowski is all inclusive. He addressed the audience at the beginning, dedicating the performance to Dame Joan Sutherland and explaining the cast change. During the bows he acknowledged the principals in the orchestra who had played a prominent part in the performance and he did this from floor level – an unusual courtesy indicating mutual respect and autonomy between players and director. He also worked particularly sympathetically with the singers. It’s one thing to be able to watch your singers from a pit in a “normal” performance but another to have the singer beside you and often behind as in a concert performance. Minkowski frequently turned to watch as well as listen, ensuring complete unity and security and he was never distracting or overwhelming.
But his main focus of communication, of course, is with the players themselves. Naturally hands, gesture and facial expression come into it but …… watch his eyes. There is something completely beautiful about the look between musicians as they engross themselves, thinking and moving as one. Those of you lucky enough to play under a similar conductor be very grateful. Those of you lucky enough to have seen and heard Minkowski and friends are no doubt huge fans. Those of you who, like me until recently, have yet to experience this magic – don’t leave it too long. You won’t regret making the effort.
Experience the excellent website
Read about Marc Minkowski
Treat yourself to a recording for Christmas
If you ever get the chance to hear (and see!) this wonderful man, particularly with his equally wonderful orchestra – DO GO!! Calendar






you know it took me a while to truly appreciate Minkowski. in my very short period of attending live opera performances, there were so many times i saw conductors just drowning out singers (including Rigoletto in Wien). What i noticed in Alcina was that i enjoyed thoroughly the music and the beautiful singing. that’s what a great conductor does, highlights the music and supports the singers. the fact that I did’t notice him at all, to me, means that he doesn’t feel the need to demand attention and instead spends his effort making the beautiful music available to us. i took the curtain call of the Nov-17 performance (didn’t post it on youtube), and there you can see immediately when people started clapping for him, he pointed out one by one the individuals in the orchestra to give them credit and let them have their moments (the whole sequence took nearly 2 min).
there’s a video of him conducting Rameau’s “Forêt paisibles” that’s also really exciting to listen to.
Thanks so much for giving us a musician’s eye view on him. As one with no experience on that side of the stage I have to say he cretainly always appreas to be someone who really ‘works’ his orchestra in a most thoughtful and sensitive way.
I have always adored watching him conduct to the extent that I often end missing the stage action (even, on one occassion, VK!). I remember his Royal Festival Hall concert production of Agrippina last year, he was SO into it, even getting in on the acting at various points; there’s a Charlie Chaplin in there waiting to get out. After that show we went to the bar for a drink and he appeared at the table next to ours, nearest I have come to being star-struck since the day I dropped a packet of cornflakes at the feet of Ingmar Bergman. Only just resisted the temptation to rush up and profess undying love.
Would love to hear more from you though on the conducting process… how on earth does one decide to do that, and that decided how does one really learn…?
There are various paths to take- most take the academic one, some the competition one and some conduct after their career in another branch of music comes to an end or they diversify. I had conducting thrust upon me at a very early age when my highschool teacher got sick and she told me to take over the choirs and orchestra. After college I cut my teeth on brass bands and male voice choirs in The North – the musical equivelent of stand-up in working mens’ clubs! And then on to pit work as bass or MD. This lead to choirs, choral works, educational projects, stage shows, operetta and opera. The technique is easy to learn…. The rest tends to come with experience and getting people to trust you.
Oh LOL, working mens’ clubs for conducting, I’ll never listen to a brass band again without giggling at that thought. By ‘eck lass, must ‘ave been hard work.
You seem to have specialised in singer/performer involved stuff, is that chance or preference? Is it a different / additional skillset to more orchestral work?
I do tend to prefer the short-term commitment that theatre work affords. Most orchestral stuff is long-term and there are fewer opportunities. The main extra skill involved with orchestras is overcoming any prejudice to a woman ( preparation and humour a prerequisite ) Pit work is great and has the added advantage of one being free to flirt outrageously ( sorry, I mean musically connect ) with anyone on stage! — Eye skills essential.
Meanwhile, Alcina is being broadcast again, tomorrow: http://sites.radiofrance.fr/francemusique/em/soirees_lyriques/emission.php?e_id=26&d_id=420001047
I wandered around those links that you posted, and voila, une trouvaille.
Serendipitydoodah indeed!! Thank you.
Great call, Eyes.
I love Maestro Minkowski to death. First encountered him via the Platee DVD ( http://www.youtube.com/watch?v=E1EE6CSIo6A ). Expected to be bored by Rameau but had such fun I kept re-watching the thing.