4th April 2025, Karl Georg Berg, Die Rheinpfalz
“The recent concert program of the German State Philharmonic Orchestra of Rhineland-Palatinate under Chief Conductor Michael Francis was enchanting, and not only because of its focus on works based on “1001 Nights.” It was a dazzling, enchanting, and absolutely thrilling orchestral feast.
The Symphonic Suite “Shéhérazade” by Nikolai Rimsky-Korsakov is certainly one of the most effective large orchestral pieces ever—and it is essentially a concerto for orchestra. Of course, the solo violin serves as the narrator, a kind of musical Shéhérazade, but in the four movements, individual instruments and instrumental groups are repeatedly showcased with virtuosity. The music is enchanting and magnificent—and when played with appropriate sensuality, it creates a powerful impression.
This was true of the Staatsphilharmonie’s performance under Michael Francis – and much more. Under the inspiring direction of its chief conductor, the orchestra offered a phenomenal performance in all registers. The string sound alone, in all its dynamic facets, was fabulous. The other sections in the orchestra also consistently delivered captivating highlights.
Michael Francis, who once again demonstrated himself as a unique designer of great symphonic designs, unfolded a musical fairytale shimmering in “a thousand and one” (and even more) colors, filled with gripping intensity and passion. There were heightened crescendos and electrifying rhythmic vigor, but also opulent lyrical passages reveling in the sound. The audience was truly captivated by the music and the stories it captured; this overused phrase truly applies here. Nikolai Rimsky-Korsakov’s work is essentially very clear and strictly structured. Yet here, everything seemed free and told in the moment, as one attributes to skilled storytellers…
Michael Francis’s highly flexible tempo ensured a seemingly completely free, almost improvised performance. These moments were then integrated into an acting of irresistible “drive.” In the wild finale, the audience’s animation reached levels of excitement rarely experienced at classical concerts. The cheers afterwards were tremendous…
Of course, the first part of the program, dedicated to the music of French Impressionism just a few kilometers from France, should not be forgotten. Even then, the orchestra delighted with its magical sound. Claude Debussy’s famous orchestral piece “Prélude à l’après-midi d’un faune” was brought to life in all its charms, beginning with the exquisite flute solo by principal flautist Hanna Mangold, which seemed to emerge from nowhere. These ten minutes were fragrantly light and filled with delicate pastel tones, as Michael Francis freely allowed Debussy’s music to take shape in colorful nuances.”
