Two hundred and thirty performers a night, a man only the next day, the same feeling of elevation: the aftermath of music week, under the sign of the transcendence. Wednesday night at the Philharmonic, Daniel Harding, one month of the end of its (too?) brief tenure at the head of the Orchestre de Paris, proposed one of his horses to battle: the War Requiem of Benjamin Britten. The height of view with which he directs this monument does not leave to impress. It does so without need of request by the pathos or sentimentality of a work already sufficiently charged with emotions.

One probably can imagine approach is more visceral, but the concentration and the accuracy of tone allow the device to deploy with a rare clarity.

One probably can imagine approach is more visceral, but the concentration and the accuracy of tone allow the device to deploy with a rare clarity. The flexibility of his arm, his visual sense of the dosages and sequences are based on the acoustics of the Philharmonic hall, simply ideal for absorbing with transparency spatialization arranged by Britten: a small orchestra of …

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