Task: Sentiment Analysis
Input (French): In concert, a loud disappointment... . Reading a review of her Canadian debut in Vancouver on April 29, 2007, one would imagine that a rousing standing ovation greeted Ms. de la Salle's performance, hardly the polite slow rising one she received. Ms. de la Salle credentials are impeccable, so impeccable that the CD pitch came before the recital not even at intermission: simply put, we had to like it or else... And the reviewer, not surprisingly, proceeded from the same line of thought.  Juxtaposing classical Mozart and neoclassical Prokofiev set the stage for an interesting programme indeed! I concede that the recital started well and the Sonata offered some nice moments although slightly contrived: it was the art of representation as opposed to the art of transformation i.e. the feelings portrayed were acted not lived. Granted, a teenager won't have Mr. Brendel's experience. Virtuosity is a blessing but could also become a curse: in her case this led to exaggerating every move, fast or slow, breaking the classical pulsation. This out of style Mozart culminated with the Rondo which became openly romantic Chopin like, quite surprising for a Paris Conservatory pupil. The final Mozart piece "Ah Vous dirais-je Maman..." variations kept on pressing the same obvious style where delicacy, grace and tenderness were absent. By now one was looking towards Prokofiev for relief as it was becoming increasingly evident Ms. de la Salle had nothing new to add to her heavy handed Mozart.   Ms. de la Salle sound is forced rarely graceful. Her shoulders are tense because she presses on keys a lot instead of controlling the hand weight with a free arm. Thus it was no surprise she muscled her way through Prokofiev. The Sonata became an intellectual exercise, virtuosic and abstract. But it is the Romeo and Juliet suite that exacerbated the misgivings of Ms. de la Salle forceful approach. Romeo and Juliet, a tender love story set in a backdrop of violence and family feud immortalized on the silver screen by Zeffirelli. Prokofiev's brilliant music reflects this classic tale and offers soaring moments of absolute beauty. Well, Ms. de la Salle rendition offered none of this. Her insistence to over blow musical traits led her to almost lose it during the syncopated "Montagues and Capulets" renowned theme. Moreover, slow movements were painfully lacking colors and dramatic tension as her sound faded quickly, failing to carry her thoughts. The audience mind wandered away, lost count of the movements, and applauded too early or too late... Finally, it was an understandably tired soloist who concluded with a rough Toccata.  At 14 Ms. de la Salle in her first recording revealed a promising talent. Her second CD did not confirm as Bach, like Mozart last night, was treated romantically. Her emphasis on the right hand melody at the detriment of counterpoint betrays a rather homophonic hearing. It is truly sad to see how a brutal rise to fame can damage the blooming of a precocious talent and one wishes her to meet a teacher truly interested in freeing her from this over hyped mono dimensional impasse. She would then become the voice the media claims she already is.
Output (English): NEG