In a surprising return to the podium, Robert Treviño brought his unique energy and authority to lead the London Symphony Orchestra through a thrilling sequence of 20th-century masterpieces. What was once thought to be a debut – a last-minute stint in 2017 conducting Mahler's Third Symphony – has since become a hallmark of an accomplished career that has spanned Europe.
Treviño is not one for flashy gestures, but there's a contained coiled-spring quality to his podium presence. This was evident as he navigated the complexities of Messiaen's 1932 Hymne, a mystical and immanent work that's both structurally imposing and sonically alluring. The LSO strings and woodwinds conjured images of incense billowing through a cathedral, while Treviño kept the structural pillars firmly in view.
In contrast, Márton Illés's 2019 Vont-tér is an antithesis – a stripped-back, virtuosic violin concerto that defies conventions. Patricia Kopachinskaja shone as its soloist, conjuring a haunted textural dance with her chamber-sized LSO. The performance was marked by fierce precision and playful nuance, but one couldn't help wondering what this work had to say to Messiaen or Rachmaninoff.
Treviño's Rachmaninoff, however, offered a satisfying answer – cinematic melodies that danced forward, backward, and sideways in a majestic web of sound. The result was top-heavy but exhilarating, with the eruptive finale hurtling towards its glorious close. Even as the music teetered on vertigo, Treviño's baton remained steady, guiding the LSO through the sonic Valhalla.
Treviño is not one for flashy gestures, but there's a contained coiled-spring quality to his podium presence. This was evident as he navigated the complexities of Messiaen's 1932 Hymne, a mystical and immanent work that's both structurally imposing and sonically alluring. The LSO strings and woodwinds conjured images of incense billowing through a cathedral, while Treviño kept the structural pillars firmly in view.
In contrast, Márton Illés's 2019 Vont-tér is an antithesis – a stripped-back, virtuosic violin concerto that defies conventions. Patricia Kopachinskaja shone as its soloist, conjuring a haunted textural dance with her chamber-sized LSO. The performance was marked by fierce precision and playful nuance, but one couldn't help wondering what this work had to say to Messiaen or Rachmaninoff.
Treviño's Rachmaninoff, however, offered a satisfying answer – cinematic melodies that danced forward, backward, and sideways in a majestic web of sound. The result was top-heavy but exhilarating, with the eruptive finale hurtling towards its glorious close. Even as the music teetered on vertigo, Treviño's baton remained steady, guiding the LSO through the sonic Valhalla.
he brings this level of energy and authority to every performance i swear his podium presence is like coiled spring ready to unleash 
and that Messiaen piece was mesmerizing the way the strings and woodwinds created this incense-filled atmosphere 
but then you've got Márton Illés's violin concerto and it's like total opposite vibe all stripped back and virtuosic 
Patricia Kopachinskaja is a genius as a soloist btw her playing was hauntingly beautiful 
and that Rachmaninoff piece though top-heavy it was exhilarating 
his presence on stage is so commanding but also kinda subtle like you mentioned, it's like he's got this contained energy just waitin to be unleashed 
i loved how he let each piece breathe its own unique life without overpowering the others 
! his energy is so infectious, it's like he's one with the music 
. and that Messiaen piece? mind. blown. I love how he kept it grounded despite its complexities 
. but honestly, I think what really stands out to me is his ability to balance structure with freedom 
. the way he navigates those intricate pieces is like a work of art in itself 
. and can we talk about Patricia Kopachinskaja's violin skills? 
I gotta say, Robert Treviño is definitely one of those conductors who can calm down a chaotic mess and make you feel like you're floating on air 
. His energy is infectious, and he has this way of making you believe that anything is possible, even when the music gets really complex 
!
messiaen's hymne was insane, like the music was conjuring incense and everything! and then there was that violin concerto, i'm still trying to figure out what márton illés was going for 
but treviño's rachmaninoff was NEXT LEVEL 
he just makes that rachmaninoff symphony feel like something out of a movie 
i mean i was on the edge of my seat the whole time, it was like the music was gonna take over everything 
and treviño's baton work was so precise it was like he was conducting his own personal sonic orchestra 
... I mean, he's not exactly known for his crowd-pleasing moments. But hey, maybe this return to form is a sign of him finally getting over himself. Still, I wouldn't be too sure about this "accomplished career" business... all I know is he's been doing this job for like 5 years now and still manages to get by 
. Guess you can't put a price on it though... or at least not yet 