Archive for the ‘Music’ Category
Charles Dutoit conducts The San Francisco Symphony in Stravinsky, Elgar, and Mussorgsky/Ravel, with Gautier Capuçon, Cello
It’s hard to recall a time when Stravinsky’s music carried with it the suggestion of impossible modernism. But it did—once. The appearance of Petrouchka on TV in 1960 made the viewer feel quite daring, I remember. It was “dissonant.” And the Rite of Spring, with all those purpose-led insect lives and braying jurassic fossils was just plain intimidating. Little did we know then that dinosaurs were merely large chickens and Stravinsky himself, if not exactly a pussycat, then about as threatening as a Russian wolfhound on Stupid Pet Tricks.
The recent biennial weeklong Boston Early Music Festival (June 14-21) drew unusual attention for presenting full stagings of all three of Monteverdi’s surviving operas (Orfeo, The Return of Ulysses, The Coronation of Poppea) plus the Vespers of 1610. This in addition to the Festival’s usual 9 a.m. to midnight concerts of a great variety of music from the Middle Ages to Bach, featuring noted performers from all over the world. Enthusiasm ran high all week and audiences were large, especially for the Monteverdi events.
Michael Tilson Thomas Leads the San Francisco Symphony in Leonard Bernstein’s “Age of Anxiety” Symphony and Mahler’s Fourth
There is a sound you sometimes feel after midnight, high up in Manhattan. It comes from maybe thirty blocks away. Very faint. In the stillness of your mind, you know it is a lonely taxi horn dancing with the doppler effect. But in the small hours of the city, you wonder who might be riding home amongst sleeping millions, and how boozily, and what love affairs or personal dramas might now begin or end. New York is like that. In its darkness, taxis are crickets, and you listen.
The perfect word to describe Andris Nelsons’ conducting is “exciting.” He elicits spectacular playing from the Boston Symphony and knows how to mold the sound of the orchestra to his taste. The strings now sound rich, deep, and solid rather than airy, transparent and elegant, as was their traditional, French–flavored style. This works well in a German-Russian program; I am curious to hear what they (Nelsons and the orchestra) will do with canonical French material such as the orchestral works of Ravel.
Vasily Petrenko Conducts the San Francisco Symphony in Barber, Rachmaninoff, and Shostakovich, with Sa Chen, Piano
Concerts this good have become our norm and good fortune in twenty-first century America—especially in San Francisco. We are used to charismatic conducting, to fine piano debuts, to engaged orchestral playing and the rediscovery of great neglected symphonies. What differs from time to time is the realization that a performer may not only be accomplished, or even inspiring, but one of a kind. I begin to think Vasily Petrenko is such an artist.
As everyone in New England knows, this winter was one long slog. But significant musical events actually got to take place, and some of these have been exceptional. But many have been frustrating and disappointing.
Michael Tilson Thomas conducts The London Symphony Orchestra in Colin Matthews, Gershwin (with Yuja Wang), and Shostakovich
If you feel pursued by good luck, do we call it paranoia? This is the question I must answer lately, since it seems the London Symphony has chased me down in San Francisco—to my great delight!
Just a month ago, I had the good fortune of hearing Sir Mark Elder lead the orchestra in a solid Pathétique at the Barbican. By the time my visit was over, I had experienced the Berlin Philharmonic, the BBC Symphony, the Philharmonia and the London Philharmonic, as well. What puzzled throughout all this listening was the difficulty of telling the orchestras apart in London’s Barbican and Festival Hall, clinical modern venues with limited reverberation and bass.