Principal conductor Robert Treviño returns to the London Symphony Orchestra after nearly a decade, and it's clear why his debut was so memorable. In 2017, he stepped in at short notice for Mahler's Third Symphony, and two years later, he pulled off a similar coup in Zurich, establishing himself as a rising star. Now, Treviño is finally back with the LSO, and it was worth the wait.
Treviño doesn't make a flashy entrance on the podium; his style is understated yet powerful. However, when he does engage, his delivery exudes authority and precision. This was evident in a sequence that included two challenging works – Messiaen's lost Hymne from 1932, which has been largely reconstructed over time, and Márton Illés' Vont-tér.
The LSO strings produced a cloud of incense-like soundscapes during the Hymne, with Treviño expertly grounding them in structural integrity. Despite the lack of clarity around the work's reconstruction, Treviño ensured it retained its mystique. The woodwind section provided an eerie backdrop, evoking the scent of distant incense.
Illés' Vont-tér, however, was a more challenging proposition. This single-movement concerto stripped away virtuosity and lyricism, turning expectations on their head. Patricia Kopatchinskaja's appearance in the second of three Artist Portrait performances added an air of tension to the performance. Her playing, though precise and playful, seemed almost defiant, leading a chamber-sized LSO through a haunting textural dance.
But what did Illés' Vont-tér have to say to Messiaen or Rachmaninoff? Treviño's approach provided some answers. He tempered the monumentality of Rachmaninoff's Second Symphony with plenty of pace and vertical translucency, resulting in cinematic performances that saw melodies always on the move. The result was a work that felt integrated and cohesive, with the eruptive finale already in sight from the opening notes.
In particular, Treviño brought out the brass section, setting them loose to create an exhilarating Valhalla-inspired conclusion that left the audience racing towards its finish line. With his precise delivery and authority on the podium, it's clear why Robert Treviño is now being hailed as one of Europe's leading conductors.
Treviño doesn't make a flashy entrance on the podium; his style is understated yet powerful. However, when he does engage, his delivery exudes authority and precision. This was evident in a sequence that included two challenging works – Messiaen's lost Hymne from 1932, which has been largely reconstructed over time, and Márton Illés' Vont-tér.
The LSO strings produced a cloud of incense-like soundscapes during the Hymne, with Treviño expertly grounding them in structural integrity. Despite the lack of clarity around the work's reconstruction, Treviño ensured it retained its mystique. The woodwind section provided an eerie backdrop, evoking the scent of distant incense.
Illés' Vont-tér, however, was a more challenging proposition. This single-movement concerto stripped away virtuosity and lyricism, turning expectations on their head. Patricia Kopatchinskaja's appearance in the second of three Artist Portrait performances added an air of tension to the performance. Her playing, though precise and playful, seemed almost defiant, leading a chamber-sized LSO through a haunting textural dance.
But what did Illés' Vont-tér have to say to Messiaen or Rachmaninoff? Treviño's approach provided some answers. He tempered the monumentality of Rachmaninoff's Second Symphony with plenty of pace and vertical translucency, resulting in cinematic performances that saw melodies always on the move. The result was a work that felt integrated and cohesive, with the eruptive finale already in sight from the opening notes.
In particular, Treviño brought out the brass section, setting them loose to create an exhilarating Valhalla-inspired conclusion that left the audience racing towards its finish line. With his precise delivery and authority on the podium, it's clear why Robert Treviño is now being hailed as one of Europe's leading conductors.
His approach to Messiaen's Hymne was mesmerizing, creating an otherworldly atmosphere that transported me to another time & place 
I'm loving his take on Illés' Vont-tér too - it's like he's speaking my language! 
The way he balances virtuosity with precision is pure magic 
And can we talk about the brass section? 
they're like a force of nature, unleashing that epic finale and sending the whole audience into raptures 
Treviño's podium presence is so understated yet commanding - it's no wonder he's being hailed as one of Europe's top conductors! 
he doesnt make a big show of himself but when he starts conducting his style is super understated yet powerful u feel him? anyway i thought the lso strings were on point during messiaen's hymne it was like incense or something 
and patticia kopatchinskaja brought this edge w/ illés' vont-ter though her playing seemed kinda defiant lol but treviño tamed down rachmaninoff's symphony 2 & made it feel all cinematic & integrated somehow the brass section tho!!! 
valhalla vibes are real
. Who needs all that drama when you can bring the heat with precision? 
[GIF of a person doing a cool, calm walk into a crowded room]
just saw this concert and I'm still reeling from the experience... what struck me most was how Treviño's understated style belied a deep understanding of these works. it's easy to get caught up in the flashy virtuosity, but he showed us that sometimes the most powerful performances come from a place of restraint. his ability to balance structure and emotion is truly impressive - it made those complex pieces feel like puzzles slowly coming together...
The way he handled Messiaen's Hymne from 1932 was pure magic 
! Patricia Kopatchinskaja added this cool vibe to the performance though 
and Treviño's approach to Rachmaninoff's Second Symphony was so refreshing 
#ConductorGoals #TreviñoForever 
. still a great conductor, don't get me wrong! his take on Messiaen and Illés was interesting, though felt like some parts were missing the magic of the originals 
. Rachmaninoff's symphony was a nice surprise, especially how he balanced the pace and textures 
treviño's not flashy on stage, but that's part of his charm I guess...
HE'S LIKE A ROCKSTAR ON THE PODIUM, EVEN THOUGH HE DOESN'T TRY TO BE FLASHY OR ANYTHING! HIS STYLE IS JUST SO UNDERSTATED YET POWERFUL AND IT WAS AMAZING TO SEE HIM IN ACTION LAST NIGHT. THE WAY HE HANDLED MESSIAEN'S HYPNE WAS LIKE MAGIC, AND THE WOODWINDS REALLY KEPT ME GROUNDED IN Structural integrity 
AND I LOVED HOW HE TEMPERED RACHMANINOFF WITH PACE AND TRANSLUCENCY! THE BRASS SECTION WAS ON FIRE!!! 
and then there was illés' ventrétér - what can i say, it was a total game-changer!! 
can't wait for more performances from him!!! 
. And Illés' Vont-tér? Treviño just totally got it, man - he's all about balance and precision, but also knows how to let loose and have fun 
. I'm not surprised he's being hailed as one of Europe's top conductors now...