Leleux located the romance other conductors find elusive, and, combined with the players’ Mozart expertise, the result was like a well-cut suit accessorised with an extravagant buttonhole and a bright pocket square.
« Leleux located the romance other conductors find elusive, and, combined with the players’ Mozart expertise, the result was like a well-cut suit accessorised with an extravagant buttonhole and a bright pocket square…
The second half of this matinee concert began in a lighter tone with Leleux the oboe soloist in his own arrangements of arias from Mozart’s The Magic Flute (two of them in the mouth of flute-playing bird-catcher Papageno), cheekily dispensing entirely with flutes, as Mozart had done in the earlier symphony. This was sophisticated salon music, replete with humour and virtuosity with Leleux pirouetting on the podium in his dual player/director role. »