As representative of the neoclassical vein that characterized the interwar period as of the composer’s non-conformist temperament, Igor Stravinsky’s Violin Concerto invites the soloist to a kind of role-playing on territories ranging from the referenced Baroque (Bach’s remix) to indefinite folklore (the “fiddler” in all latitudes). Amanda Favier’s interpretation is mischievous at will, to the point that her instrument comes to be confused in the super high pitch with a glass harmonica! However, it is indeed a violin, and not the least: a Matteo Goffriller from 1723. The identity of the luthier is appropriate for the Red Violin Concerto, by John Corigliano, a score that the American composer took from the soundtrack for the film The Red Violin, which won him the Oscar for best music in 1998. Rich in spectacular effects that Adrien Perruchon restores without exaggeration at the head of a gourmet orchestra, Corigliano’s concerto earns Amanda Favier a balancing act, both for a high-flying technique and for an ever-changing aesthetic. Pierre Gervasoni

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