I’ve just added another Daniele Gatti concert to my list. He returned for one more BSO program after his disappointing Wagner evening: Mahler’s gigantic Third Symphony. I missed the opening performance, but attended the second of the weekend’s three-concert series. I’d been prepared for the worst. Jeremy Eichler’s review in the Boston Globe was pretty damning...
Boston Symphony Orchestra
I’ve had my problems with conductor Daniele Gatti. I’ve heard him conduct the Boston Symphony Orchestra five times in the last decade, and have always been disappointed. He’s regarded as a serious musician, a thinker. But his live performances rarely arouse excitement. Even his Verdi Requiem this past season seemed plodding and surprisingly unidiomatic for an Italian conductor. His tempos tend to be on the slow side, but some major bandleaders—I’m thinking especially of Otto Klemperer, or even James Levine—convey the profundity of that slowness while also creating either enormous tension or vast spaciousness. Or both.
This concert was without a doubt one of the great events of the season, whether in Boston or New York, and certainly a high point in the BSO's unexpectedly patchy year, at least as far as guest conductors were concerned, which seemed almost miraculous on paper, given the short notice allowed by James Levine's final health setback, but in practice greatly curtailed by the cancellation of some the most distinguished conductors. Riccardo Chailly's coronary ailment forced him to cancel his two concerts and effectively put him out of the running for the empty music directorship. Andris Nelsons rather strangely decided to go on paternal leave barely more than a month before his scheduled concert. Ill-health made it necessary for Kurt Masur, one of the great interpreters of the Missa Solemnis, to back out of his engagement while already in rehearsal. It was, to say the least, reassuring to find Esa-Pekka Salonen appearing as scheduled with violinist Leila Josefowicz in an advanced stage of expectancy, much to the delight of her many fans in the audience.
Not since the Dresden Staatskapelle last played here has an event exuded a like aura of serious appreciation. Despite its current state of unsettled leadership, the Boston Symphony represents a substantial portion of America's iconic musical past, and you had the feeling on Wednesday that some very proper Bostonians, themselves virtual institutions, had emerged from public obscurity to render homage. Indeed, it was almost disturbing to witness the age of the audience, which in San Francisco tends to be youngish and oriented to date-night. The young, of course, ever perceive disapproval on the faces of the old, though this can be an inadvertent byproduct of trying to focus uncooperative eyes. Some of us in our sixties ruefully begin to notice this. But my imagination wasn't prepared for the scene in the lobby, where a thousand apparently scowling octogenarians patrolled the halls like alligators—-peering challenges into the not-quite-recognized faces of enemies. Thank heavens for the rejuvenating waters of music!
An especially exciting bit of news was tucked away in the middle of the release: the BSO’s own recording label, will release as a download Celebrating Carter’s Century, music by Elliott Carter from the 2008 Festival of Contemporary Music at Tanglewood. We can only hope that the documentation of this great event will be as complete as possible.
A couple of years ago the Leipzig Gewandhaus Orchestra and conductor Riccardo Chailly visited Boston and gave a wonderful Symphony Hall concert of Richard Strauss tone poems. The orchestra, with a lot of young members, played splendidly, with great group spirit. And Chailly gave extraordinary purpose and meaning to the music. He and the orchestra under his leadership showed care and commitment with every bar, every note, and fashioned each piece into a compelling organic whole. Wow! one felt. Friends of mine in New York heard the same program a week later there and had much the same reaction.
Les Troyens is so widely accepted as Berlioz’s greatest work, that the progress of the Berlioz Renaissance is punctuated by performances of it in the opera house and in concert, beginning, arguably, with Sir Thomas Beecham’s moderately abridged 1947 BBC broadcast. Now Boston music-lovers may consider the Berlioz Renaissance to be something of a noble fiction, since his music has had its own secure place in the Boston Symphony repertoire for many years, maturing with Charles Munch’s arrival in 1949. During his tenure he and the BSO performed and recorded several of Berlioz’s most important works, and the recordingsare still considered among the best. Later, both Jean Martinon and Seiji Ozawa continued the tradition most capably, and Berlioz has been one of James Levine’s great enthusiasms since early in his career. Expertise in Berlioz seems to be a prerequisite for the job. Yet, this is the first complete performance of Les Troyens by the foremost Berlioz orchestra in America, which in the past has only played brief excerpts, above all the “Royal Hunt and Storm” from Act IV. Hence these concert performances of Parts I and II on following weeks, culminating in a complete performance on Sunday May 4, are in fact landmarks.