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Yannick Nézet-Séguin

From Wikipedia, the free encyclopedia

Yannick Nézet-Séguin
CC
Yannick Nézet-Séguin.jpg
Nézet-Séguin at the Kimmel Center for the Performing Arts in Philadelphia, 18 June 2010
BornYannick Séguin
(1975-03-06) March 6, 1975 (age 43)
Montreal, Quebec, Canada
ResidenceMontreal, Quebec, Canada
Philadelphia, Pennsylvania, U.S.
Occupationconductor, pianist
Years active1994–present
Partner(s)Pierre Tourville

Yannick Nézet-Séguin, CC (French pronunciation: ​[ja.nik ne.zɛ se.ɡɛ̃]; born Yannick Séguin;[1] 6 March 1975) is a Canadian conductor and pianist. He is currently music director of the Orchestre Métropolitain (Montréal), the Metropolitan Opera, and the Philadelphia Orchestra. He was also principal conductor of the Rotterdam Philharmonic Orchestra from 2008 to 2018.

YouTube Encyclopedic

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  • Act 1 Duet from Mozart's 'Don Giovanni' | Juilliard Yannick Nézet-Séguin Vocal Arts Master Class
  • Yannick Nézet-Séguin Q&A Session | Juilliard Yannick Nézet-Séguin Vocal Arts Master Class

Transcription

(singing in Italian) (applause) - Amazing, take it, take it, take it. And you too. Well, we're already in the action. This is fantastic. You really pulled us into the action. And as you were making this also wonderful with our orchestra here, I was thinking, your intensity is the right one. Now it does translate into a little bit of everything being a little mmmh, right? Which is normal, okay? And you certainly don't wanna sing this like, heh, okay, yeah, detached. But there are some very interesting shadings in that duet, especially, of course in the recits, but I think we should go right from the fuggi, and first do, and if we have time we can, back more in the recit, and trust more of the dynamics of Mozart. Which means that, of course he doesn't write in your lines, and some of them you did, and I was like, well that's great. For example, But as it happens very often, you establish a color, and that is not only you, it's every singer. It's not only singers, it's instrumentalists, conductors, we all do the same. We establish a color, it's very good. It lasts two notes and then we're out of the color. So actually, just let us take time to get into these shades. So let's detail it. So I was thinking we should, the facore and the fuggi, I love, by the way, that was a great timing between these. So we should maybe do this again, yeah that's good. Okay, yeah, so the timing is good. Take it like, I feel that this fuggi, because you do such a great "F," it goes very much with the reaction like, you don't understand what I'm talking about. So it's like, FFOHH, instead of just Fuh. And don't worry, the conductor will get you, because you have this great, your body language will give it to me. So, same place? Jinhee, right? Okay. Very nice. See, you don't need, you have such a great voice Felicia. You don't need to give it all the time to us. Like, we get it. So you pull us (laughter) What? - It's just funny. - Really? - Yeah. - Okay, no but it's true, sometimes it's just like, yeah, I feel that we, because we're in a world where everything comes at us, like, it's there, it's loud enough, it's good, it's direct, we forget that the experiment, or the experience I should say, in an opera house or in music that we do, in theater, is also about pulling the people, drawing them to us, instead of just like, paff, we're gonna give it to you. And we have bigger halls in America and da da da da. Yeah, it has nothing to do with this. I think it's just a question of concept. So it's basically not to sing softer, it's more You know? Inside. Okay, so I just want to check one little thing here. Sorry, I need to check back with the score, but I'm pretty sure I know the fuggi. Yeah, no that's good. Okay, let me, 'cause I vaguely conduct now. But you still do your thing. I'm just the usual thing in the pit. So, same place. Mezzo forte now. Yeah, yeah. So, I love the way you feel it. Charles, right? Love the way you feel it, but the da da dee da da da da da da, this is, it's the second violins who do this, you know, and this is your turmoil inside. Your line in this moment is very lyrical. So if you try to put too much into that, the to ba de di di di da, you're almost in conflict with the orchestra. So it's more you try to reassure, in a way, you know? So, guaardaa, instead of guarda. Okay, so right from the centi. Let's give one bar before centi, okay? Yeah, beautiful. I'm sorry to interrupt the orchestra. But this is what we do, conductors, we talk too much and we interrupt the orchestra. You do it so well, this appoggiatura. Same for you actually Charles, but Felicia, I've noted that you do, le penne. So actually you give it the pain, because this appoggiatura is all about the pain. Whenever we get this it's like the salt to just mmhh. If you elongate the note after, it almost kills the effect, it's just, it neutralizes the effect, right? So, I loved your line, and this, I mean you sound great in this, and it's not - Cool, thanks. - Can you still hear him? Duh, yeah, okay. Okay, so here, one of the genius moments of Mozart is that the three bars of Jinhee are actually your thought in padre. So now I feel that you're not necessarily, you're listening to her, I can see it, which is beautiful, but you're not using it as much. You should maybe want to, il padre, la. So it's a body thing but it's more like the kind of breathing you will take to get a different lascia. So, da da dee da da da dee. Now take it, take it. Yeah, now, can you do even more? Okay, now I went off voice. I'm not asking you to go off the voice, you know, but just more this forte piano. And then mezzo forte. Because now it sounds diminuendo and normal piano. And all those details will make sense of how the figure, the father and the lover and the husband and the nervous, reassuring. I mean it's such a complex character, and Don Ottavio, I still feel, is underestimated. Right? Okay, good. Yeah, okay. No but it's true. They say, oh he's weak. No, he isn't, but it's just, what do you do with this situation? So it's all, of course, you know, it's predictable I would say this. It's all in the music. But it's true, it's true. So let's just exaggerate that for the moment. So, il padre, right on il padre. Now take it and slow breath. Bravo. Love this. Now, legato. Thank you, beautiful. Now, just want to underline what you just did, which you followed the ya-da, ya-da. It's very important that little sigh, because at the beginning we're more di-ya, di-ya. The articulations here. Let's continue. Okay, so, in a recit like this, of course, I appreciate that you wanna follow me. But I'm actually more, we have always to remember that these were written, designed precisely not to need a conductor. Nowadays, unfortunately, we sort of pretend to make ourselves indispensable. We can elaborate about that later. I'm really not flattering to my profession, am I? But actually, I'm here just to facilitate what you will make as a statement. And I hear that you have it here completely. Like, to pull it back so that the maestos all make sense. So now you are sort of doubting. I just go with you, dum pa pa pum pum pum. Then Jinhee doesn't need me, doesn't need anyone, right? So, same. Good, good. I love the spacing. Just a little more intention. It was more, noooo, my note is nice. I sound gooood. Sorry, that's a, no. See, he agrees. You do sound good though, both of you. Let's just do from there. Yeah. Yeah. You know, these phrase offs, really important. It's one of my pet peeves, unfortunately, but I'm happy you react to this, because da da, and the next one is the worst, in opera, all the history of every opera. Not too much but, right? Okay. So let's do de do de doo. And keep it open though. Yeah, that's it. And not too fast. Good, good, good good good. But now, you really can do this. You have it in your voice and it's fantastic. If it starts to sound pum pum pum pum, it doesn't have the same breathless feeling. So, right on this. Okay, yeah, maybe that's a better place. That's a better place. I think you're very, you give it all. I would be scared. Brunhilda just said, no but what I mean, it was not a reference to your voice, which could be, but actually, it is very strong. If you are not to do any embellishment on this, hold it. This you can give. It's like, okay. I think there needs, like oh, do I wanna go there? Yes I want, so good for you. So yum pum pum. Good. And stay piano. And keep the color. Up, up, up. Can you do it more legato? - Sure. - Otherwise everything is rhythmical. Beautiful Felicia. Because then you give a chance to your colleague. Otherwise that note is just like in the theater, waaah. And then, we see the tenor, but you know. And it's, again, it's not because you sound less, so that we understand, right? You have actually really perfectly matched voices. It's just it's, yeah. So just from a, let's do And really in the, hah, hah. Yeah, wonderful. (applause) Wonderful. Superb, superb, really. Superb. And you too, superb. Take it, take it, take it. Great.

Contents

Biography

Early years

Nézet-Séguin was born in Montreal on 6 March 1975 to two specialists in education, Serge P. Séguin, Ph.D., a university professor, and Claudine Nézet, M.A., a university lecturer and coordinator.[1] He began to study piano at age five, with Jeanne-d'Arc Lebrun-Lussier, and decided to become an orchestra conductor at age ten.[2]

Nézet-Séguin studied successively at St-Isaac-Jogues Primary School, at Collège Mont-Saint-Louis Secondary School and at Bois-de-Boulogne College. In the meantime, he was admitted to Anisia Campos's piano class, at the Conservatoire de musique du Québec where he earned five first prizes in piano and in four related musical subjects. He also studied choral conducting with Joseph Flummerfelt at the Westminster Choir College in Princeton, New Jersey, and did many master classes with renowned conductors.

Early career

At 19, he met and was invited to follow Carlo Maria Giulini in rehearsals and concerts for more than a year. He became the musical director of the Chœur polyphonique de Montréal in 1994 and obtained the same post at Choeur de Laval in 1995. In 1995, he founded his own professional orchestral and vocal ensemble, La Chapelle de Montréal, with whom he performed two to four concerts a year until 2002. He considers Charles Dutoit as his first inspiration as a child and Carlo Maria Giulini as his master.[3] From 1998 to 2002, Nézet-Séguin was chorus master, assistant conductor and music adviser of the Opéra de Montréal.

Orchestre Métropolitain

Nézet-Séguin became music director of the Orchestre Métropolitain (Montréal) in 2000, and principal guest conductor of the Victoria Symphony (British Columbia, Canada) in 2003. His most recent contract with the Orchestre Métropolitain, through 2010,[4] has since been extended through 2015.[5] In September 2015, the orchestra announced a further extension of his contract through the 2020–21 season.[6] He has conducted commercial recordings of symphonies of Anton Bruckner and Gustav Mahler with the Orchestre Métropolitain.[7]

Rotterdam Philharmonic Orchestra

In 2005, Nézet-Séguin guest-conducted the Rotterdam Philharmonic Orchestra (RPhO) for the first time, and returned in 2006. In December 2006, the RPhO announced the appointment of Nézet-Séguin as their 11th Principal Conductor, by a unanimous vote, starting with the 2008–09 concert season,[8] with an initial contract of 4 years. In April 2010, the RPhO announced the extension of his contract through 2015.[9] With the RPhO, Nézet-Séguin has recorded commercially for Virgin Classics[10] and for EMI.[11] In June 2013, the RPhO further extended his contract through the summer of 2018.[12] In May 2015, the RPhO announced the conclusion of Nézet-Séguin's tenure as RPhO principal conductor at the end of the 2017–2018 season.[13] He now has the title of Eredirigent (honorary conductor) of the RPhO.

Philadelphia Orchestra

In December 2008, Nézet-Séguin made his first appearance with the Philadelphia Orchestra, at the invitation of Charles Dutoit.[14] He returned for a second guest-conducting engagement in December 2009.[15] In June 2010, he was named the eighth Music Director of the Philadelphia Orchestra, starting with the 2012–13 season. He served as Music Director Designate from 2010 to 2012. His initial contract as music director is for 5 seasons, with 7 weeks of scheduled concerts in the 2012–13 season, 15 weeks in the next 2 seasons, and 16 weeks in the subsequent 2 seasons of his Philadelphia contract.[16] In January 2015, the orchestra announced a five-year extension of Nézet-Séguin's contract to the 2021–2022 season.[17][18] In June 2016, the orchestra announced a further extension of his contract, through the 2025–26 season.[19]

The Metropolitan Opera

Since 2009, Nézet-Séguin has made annual appearances with the Metropolitan Opera in New York. He made his début on 31 December 2009, conducting a new production of Carmen,[20] followed by Don Carlo in 2010 and in 2015, Faust in 2011,[21] La traviata in 2013,[22] and Rusalka in 2014.[23] He opened the Met's 2015–16 Season in September 2015 conducting a new production of Verdi's Otello,[24] and returned in 2017 to conduct Der fliegende Hollander. On June 2, 2016, the Metropolitan Opera announced the appointment of Nézet-Séguin as the next music director, effective with the 2020-2021 season, with an initial contract of four years.[25] He took the title of music director-designate as of the 2017–18 season. In February 2018, the company announced that Nézet-Séguin is to take the title of music director as of the 2018-2019 season.[26]

Other major engagements

Nézet-Séguin made his UK conducting debut with the Northern Sinfonia in the 2005–06 season. He debuted with the London Philharmonic Orchestra (LPO) in March 2007, and with the Scottish Chamber Orchestra in April 2007.[27] In November 2007, the LPO appointed Nézet-Séguin as their principal guest conductor, starting with the 2008–09 season.[28] Following a May 2010 extension of his contract as LPO principal guest conductor,[29] he stood down from the post in 2014.[30][31] He made his Royal Opera House debut with Rusalka, the first stagings of the opera at Covent Garden, in 2012. He is also an honorary member and guest conductor of the Chamber Orchestra of Europe.

Personal life

Nézet-Séguin resides in Montreal and Philadelphia with his partner Pierre Tourville, a violist in the Orchestre Métropolitain.[32]

Honours

Discography

Orchestral works

Vocal recitals

Operas

Operas on video

See also

References

  1. ^ a b David Patrick Stearns, "Nezet-Seguin signs Philadelphia Orchestra contract". The Philadelphia Inquirer, 19 June 2010.
  2. ^ Joyce Morgan (27 June 2007). "Young conductor will reply in kind". The Sydney Morning Herald. Retrieved 2007-08-09.
  3. ^ Peter Dobrin, "Philadelphia Orchestra director taking baton of a mentor". The Philadelphia Inquirer, 20 June 2010.
  4. ^ David Patrick Stearns, "Yannick Nézet-Séguin leads two orchestras in Mahler's Symphony No. 8 in Ottawa". The Philadelphia Inquirer, 18 June 2010.
  5. ^ "Yannick Nézet-Séguin shines again: The young conductor is named Musical Director of the Philadelphia Orchestra" (Press release). Orchestre Métropolitain du Grand Montréal. 15 June 2010. Retrieved 2010-09-27.
  6. ^ "Yannick Nézet-Séguin and the Orchestre Métropolitain renew through 2020-2021" (Press release). Orchestre Métropolitain du Grand Montréal. 16 September 2015. Retrieved 2015-09-21.
  7. ^ David Patrick Stearns, "Nézet-Séguin's 17 recordings offer variety". The Philadelphia Inquirer, 20 June 2010.
  8. ^ Vivien Schweitzer (2006-12-13). "Yannick Nézet-Séguin to Succeed Valery Gergiev at Rotterdam Philharmonic". Playbill Arts. Retrieved 2007-08-29.
  9. ^ Rotterdam Philharmonic Orchestra, "Yannick verlengt contract" (webpage press release), 23 April 2010.
  10. ^ Andrew Clements (2009-10-15). "Beethoven: Violin Concerto; Korngold: Violin Concerto; Capuçon/Rotterdam PO/Nézet-Séguin (Virgin Classics)". The Guardian. Retrieved 2010-05-25.
  11. ^ Nicholas Kenyon (2010-01-31). "Ravel: Daphnis et Chloé Suite No 2". The Guardian. Retrieved 2010-05-25.
  12. ^ "Yannick Nézet-Séguin verlengt contract bij Rotterdams Philharmonisch Orkest" (Press release). Rotterdam Philharmonic Orchestra. 5 June 2013. Retrieved 2015-04-04.
  13. ^ "Yannick Nézet-Séguin in 2018 verder als ere-dirigent" (Press release). Rotterdam Philharmonic Orchestra. 5 May 2015. Retrieved 2015-05-05.
  14. ^ Arthur Kaptainis (10 November 2007). "Dutch treat". Montreal Gazette. Retrieved 2010-06-15.
  15. ^ Robert Zaller (8 December 2009). "Conductor shortage? Where?". Broad Street Review. Retrieved 2010-06-19.
  16. ^ Peter Dobrin, "Canada's 'rising star' to be Phila. maestro". The Philadelphia Inquirer, 14 June 2010.
  17. ^ "Yannick Nézet-Séguin Extends Tenure as Music Director of The Philadelphia Orchestra through 2021-2022 Season" (Press release). Philadelphia Orchestra. 30 January 2015. Retrieved 2015-01-31.
  18. ^ Peter Dobrin (2015-01-30). "Philadelphia Orchestra prepares for a big ask". The Philadelphia Inquirer. Retrieved 2015-01-31.
  19. ^ Philadelphia Orchestra (2016-06-02). "Music Director Yannick Nézet-Séguin Makes Renewed Commitment to The Philadelphia Orchestra, Extending Tenure through 2025-2026 Season". Retrieved 2016-06-02.
  20. ^ Anthony Tommasini (1 January 2010). "That Daring Gypsy Strikes Again, and Anew". The New York Times. Retrieved 2010-12-20.
  21. ^ Anthony Tommasini (2010-11-23). "A Winning, Cautious 'Don Carlo' at the Met". The New York Times. Retrieved 2010-12-20.
  22. ^ Zachary Woolfe (17 March 2013). "Start With Adolescent Spirit, Then Grow Into a Role". The New York Times. Retrieved 2014-02-09.
  23. ^ Zachary Woolfe (24 January 2014). "When It Comes to Nymphs and Princes, Water and Earth Don't Mix". The New York Times. Retrieved 2014-02-09.
  24. ^ "Review: Metropolitan Opera's New 'Otello,' Bold and Tentative". The New York Times. 23 September 2015. Retrieved 16 April 2016.
  25. ^ Smith, Jennifer. "Met Opera Names Yannick Nézet-Séguin as New Music Director". The Wall Street Journal. Down Jones & Company, Inc. Retrieved 3 June 2016.
  26. ^ Michael Cooper (2018-02-15). "Yannick Nézet-Séguin Will Lead the Met Opera, Two Years Early". The New York Times. Retrieved 2018-02-15.
  27. ^ Rowena Smith (2007-04-23). "SCO/Nézet-Séguin". The Guardian. Retrieved 2007-08-09.
  28. ^ Kevin Shihoten (2007-11-20). "Nézet-Séguin Named London Phil Principal Guest Conductor". Playbill Arts. Retrieved 2007-11-21.
  29. ^ "London Philharmonic Orchestra extends contracts with Vladimir Jurowski and Yannick Nézet-Séguin" (Press release). London Philharmonic Orchestra. 19 May 2010. Retrieved 2010-05-25.
  30. ^ "London Philharmonic Orchestra appoints Andrés Orozco-Estrada as new Principal Guest Conductor" (Press release). London Philharmonic Orchestra. 15 January 2014. Retrieved 2014-01-18.
  31. ^ Imogen Tilden (2014-01-15). "Orozco-Estrada named as LPO's new principal guest conductor". The Guardian. Retrieved 2014-01-18.
  32. ^ Daniel J Wakin (2016-06-03). "Maestro with the Turtle Tattoo". New York Times. Retrieved 2018-09-16.
  33. ^ Tom Service (2009-10-15). "Yannick Nézet-Séguin: 'I had a dream, and that dream came true'". The Guardian. Retrieved 2010-05-25.

External links

Cultural offices
Preceded by
Joseph Rescigno
Principal Conductor and Artistic Director, Orchestre Métropolitain
2000–present
Succeeded by
incumbent
Preceded by
Valery Gergiev
Principal Conductor, Rotterdam Philharmonic Orchestra
2008–2018
Succeeded by
Lahav Shani
Preceded by
James Levine
Music Director, Metropolitan Opera
2018–present
Succeeded by
incumbent

This page was last edited on 10 November 2018, at 01:25
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