The graceful arm movements of Carydis force an optimal balance at the KCO ★★★★☆

In his thirties Constantinos Carydis conducted three operas by Mozart at Dutch National Opera. Now, eleven years later, he makes his debut with the Royal Concertgebouw Orchestra, with a Southern European program that demands fine brushstrokes and a panoramic view.

Carydis delivers both, although not right away. Admittedly, the opening piece, Four images by his compatriot Nikos Skalkottas, does not leave much room for dynamic finesse – three of the four idealized peasant scenes are expressed as firmly orchestrated dances.

Hoarse sliding brass players, a little tipsy, celebrate the harvest. In the Andante is sown, at the solemn pace of Carydis a hopeful ritual. The final part is a tutti bacchanal in which grapes are lustily pounded with bare feet. It is a joy to hear this non-obvious repertoire by a precise but wild KCO.

Afterwards, the ravishing Louise Alder sings about small and large shepherd’s suffering in the Chants d’Auvergne by Joseph Canteloube. Initially the orchestra is too dominant, but Carydis’ graceful arm movements gradually force an optimal balance. In Bailero soprano voice and woodwinds melt together into a magical shimmer.

What a find to Ottorino Respighi’s symphonic poems Fontane di Roma and Pini di Roma to be introduced with Claude Debussy’s flute solo Syrinx, fabulously played by Emily Beynon. It highlights the impressionistic influences in Respighi’s sensuous passages for flute, oboe and clarinet. Carydis lets them all breathe freely. When it’s time for the big guns, he directs a radiantly undulating Trevi Fountain and tight brass bands blaring through the room in surround sound.