Tag Archive: Vladimir Jurowski

Nicolai’s Merry Wives at the Boston Midsummer Opera and Tanglewood Tales: Jurowski and Koenigs Tell the Whole Story

Susan Davenny-Wyner, Conductor

It was James Levine’s many cancelations that most directly led to his (perhaps forced) resignation as the Boston Symphony Orchestra music director in the spring of 2011. But Levine has no monopoly on health problems and accidents. The glow of the two superlative concerts I attended at Tanglewood (July 19 and 20) was clouded over by the startling announcement that Levine’s young and healthy replacement, 34-year-old Latvian conductor Andris Nelsons, was unable to conduct the July 27 Verdi Requiem, his first scheduled concert since his appointment, because he had suffered a “severe concussion” after being “struck in the head by a door that unexpectedly swung open at his residence in Bayreuth, Germany.”

Vladimir Jurowski Conducts the London Philharmonic Orchestra in Prokofiev and Shostakovich

Vladimir Jurowski. Photo: Roman Gontcharov.

Crossing the color line. In the twentieth century Russian music became a standoff between revolution and counter-revolution, the irony being that the White Russian composers who fled the Bolsheviks were the true revolutionaries while the Reds who stayed to endure Soviet rule were forced to toe the line of backward-looking conservatism. But the music isn’t easily color-coded. Vladimir Jurowski led a concert of neoclassical Stravinsky and romantic Prokofiev that betrayed almost no revolutionary instincts, ending with the painful wail of the Shostakovich Sixth Symphony, whose Soviet credentials were never pure enough to satisfy the apparatchiks of the Composers Union.

Prom 15: Liszt’s Faust Symphony, Kodály and Bartók’s Piano Concerto No. 1

Loved to dearth. Without remembering any legal documents I signed that had Satan written in the small print, just when I forget how tawdry and thin Liszt’s Faust Symphony is, it comes around again and I give it another chance. Too late. I hear the old guy cackle and the doors of Albert Hall clanging shut. The only way to overcome the symphony’s clattering banality is for the conductor to bash the score within an inch of its life. The thing won’t die — no fear of that — and if there is truly inspired leadership, as from Leonard Bernstein and Jascha Horenstein in their classic recordings, the music will bring genuine pleasure, like the circus.