LDV75

ADRIEN LA MARCA 19 Let’s come back to the hero. The recording of these three works is also closely, intrinsically linked to your residency of a season with the Liège Royal Philharmonic, isn’t it? Did youhave anymusical or human surprises at the time of the recording? Did the pieces develop during the recording sessions? Yes, having a whole season to play a variety of repertory with orchestra and record a disc was genuine luxury! It was an incomparable human experience. The recording was an intense challenge, which we brought off in six days with a tightly planned schedule. The Prokofiev clearly developed a lot. My starting point was a score with piano featuring a lot of tempo changes. For example, the Balcony Scene is divided into several sequences: the curtain rising on the stage set, Juliet’s entrance, then Romeo’s, then the dialogue between them, the arrival of the nurse, Romeo’s escape . . . In other words, you must constantly shift from one shot to another, from one sequence to another. In a single movement from the suite, there are five different tempi.Andall of this has toflowsmoothly, like a skilful cameramovement. The version with piano was almost fixed in my DNA. It was tricky to recreate that with the orchestra, which has a much wider range of dynamics. A pianist’s hands take less time to move than a trumpet player’s breath does. This is a version shared with the orchestra. Romeo and Juliet became our collective adventure.