I don't know if Maurice Ravel's performance this year has been the best, but it's always a pleasure to hear the music of Ziburu's teacher. Ravel’s modernity goes beyond the style of his time. It builds its conpositive technique from the sources of impressionism, but it's not the model of impressionists, or the pure model. Jazz, floklore, classicism, takes something from everything, and makes special music, yours. Radiant orchestration, imagination, special rudder… these and more are the characteristics of Ravel.

The Euskadi Symphony Orchestra offered almost a monograph at this month’s compost concert, a beautiful show, although it did not show the richness of nuances it requires. To start, before entering the world of Ravel, Pavane op, by Gabriel Fauré. The Euskadi Orchestra played in the 50th year, in a very elegant style. Another thing was the next piece, the Concert for Piano and Orchestra in Sol Mayor of Ziburu. As a soloist we had the Argentine pianist Ingrid Fliter to interpret this famous and extroverted work. Mrs. Fliter is a hard and trained musician. Very hard. It certainly has shape and vigor when it strikes, but it does not subtlety. And we're sorry, but you can't interpret Ravel by playing all the notes. Their world must be understood and transmitted and, in that sense, we perceive nothing in Mrs Fliter. Permanent percussion of notes. It does a demonstration of robust technique (not refined technique), but that is not enough to make a particular version of the special style of this music. One thing is to give music the touch of one’s own personality, and another to play everything in the same way with the excuse of the “way to play”.

Pianist Ingrid Fliter has many awards and recognitions, and he knows how to play the piano well, but in another kind of repertoire he may feel better, he is not able to qualify the details of impressionism in a stylistic world. As a tip, he offered along with the orchestra a small piece by Joseph Haydn: Hungarian Rondo, as perverted as the previous one. Haydn's not his cup of tea either. By making a Franck Liszt, or rather a Sergei Prokofiev, I would like to listen to Fliter to see if he manages it better.

In the second part of the program, the orchestra performed the ballet Daphnis et Chloé, directed by John Thomas McCarthy. This beautiful play, performed for the first time, was well nuanced, although in a way the diabolical acoustic of the Main Theatre deteriorated. Nevertheless, very well.