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Tag Archive for ‘Charles Dutoit’

Pierre-Laurent Aimard performs at Pleasant Valley as part of BSO collaboration with Mass Audubon Society. Photo Hilary Scott.

Pierre-Laurent Aimard Programs Birds, Ideas, and Modernist Brilliance

As Pierre Boulez’s “house pianist” at Ensemble Intercontemporain for many years, Pierre-Laurent Aimard could have been expected to be very brainy, in command of the most complex and challenging modern scores, with an artistic temperament on the cool side, eschewing virtuosic display and temperament. His deep insight into contemporary music has been amply demonstrated in his many past Tanglewood appearances, but may give the impression that he is a specialist in this area. This would be mistaken. As demonstrated in recordings and in these concerts, his virtues as a musician benefit a wide-ranging repertory, including (in his solo recital) the baroque Louis-Claude Daquin, the romantic Robert Schumann, and the earlier 20th century Maurice Ravel.





Gil Shaham’s Tchaikovsky and Bach: Double Virtuosity

Gil Shaham’s double appearance at Tanglewood made a powerful statement: that he was the master of both ends of the spectrum of virtuosity, with the implication that every other challenge would fall somewhere in between. On the one hand, there was a visceral, mercurial, spontaneous and totally commanding performance of the Tchaikovsky concerto, a work whose technical challenges are so great that it was supposed to have been declared unplayable by its intended first performer.





TMC Vocal Fellow Fleur Barron and Dominik Belavy perform in Kurt Weill's Seven Deadly Sins in Ozawa Hall. Photo Hilary Scott.

A Singer’s Notes 127: Great Things at the TMC, and Good Fun at the Berkshire Theatre Festival and Shakespeare and Company

In line with the excellent work I have heard at Tanglewood, was the Fellows’ vocal concert. Kurt Weill’s The Seven Deadly Sins was masterfully led by mezzo-soprano Fleur Barron, Nuno Coelho, conductor, with Nicholas Muni as director. Mr. Muni’s direction was not fussy, and it tapped into the knife-edged nature of the show without excess. Ms. Barron gave a masterful performance. Not only was her voice beguiling in every way, she moved decisively, and somehow naturally, through the opera. Each of her skills contributed to a larger convincing performance in this ice-cold piece.





Colin Balzer as Ulisse in BEMF's production of Monteverdi's "Il ritorno di Ulisse in patria." Photo Frank Siteman.

Opera Boom: Lots of opera in Boston, but how much was really good?

I need more than two hands to count the number of operas I’ve attended in Boston so far this year. Two productions by the Boston Lyric Opera, our leading company; nine (four fully staged) by our newest company, Odyssey Opera; a brilliant concert version by the BSO of Szymanowski’s disturbing and mesmerizing King Rogerall three of Monteverdi’s surviving operas presented by the Boston Early Music Festival, performed in repertory for possibly the very first time; a rarely produced Mozart masterpiece, Die Entführung aus dem Serail, in a solid and often eloquently sung concert version by Emmanuel Music; the world premiere of Crossing25-year-old Matthew Aucoin’s one-act opera about Whitman in the Civil War, presented by A.R.T.; and the first local production of Hulak-Artemovsky’s Cossack Beyond the Danube, the Ukrainian national opera, by Commonwealth Lyric Theatre (imaginatively staged and magnificently sung). Not to mention several smaller production I couldn’t actually get to—including an adventurous new work, Per Bloland’s Pedr Solis, by the heroic Guerrilla Opera, which I got to watch only on-line, and Boston Opera Collaborative’s Ned Rorem Our Town (music I’m not crazy about, but friends I trust liked the production).

A lot of opera! But how full is the cup?





Andris Nelsons

The Winter of Our Discontent: Classical Music in Boston 

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.





Stéphane Denève and Lars Vogt. Photo Hilary Scott.

Orchestra Concerts at Tanglewood, a Summer Retrospective

I’d have to affect an especially severe attitude to deny that this was a rewarding summer at Tanglewood, although the token single program by a period instrument group, which is always well-attended and in fact important to Tanglewood, if the festival is to represent music-making as it is today, was missing, and I found rather little to attract me into the Music Shed. The post-Levine formula of revered white-haired visitors is wearing thin, and now that a music director has been appointed, there is no longer the titillation of a possible  music director emerging from one of the younger guest conductors. The whit heads will carry on through the next seasons at Symphony Hall and Tanglewood, until Andris Nelsons, the Music Director Designate, takes over full-time…if that actually happens, we begin to wonder.





Seiji Ozawa Hall. Photo © 2012 Michael Miller.

TMC Nights, 2012, including the Festival of Contemporary Music

The Boston Symphony played a few brilliant concerts in the shed in this anniversary year — not least Charles Dutoit’s two days of Berlioz, Beethoven, and Tchaikovsky, but the real excitement came from Ozawa Hall, as the TMC Fellows played with the full excitement of youth in a series of demanding concerts, all weighted towards the twentieth and twenty-first centuries, in consistently stimulating and coherent programs, divided between the regular TMC schedule and the Festival of Contemporary Music. This was, in addition, the most satisfying FCM since the Elliott Carter Tribute, because the selection of composers not only had its own coherence in Oliver Knussen’s experience and taste





Hector Berlioz.

The Damnation of Faust and the Ascension of Berlioz

The paradox of Berlioz is that he is both quintessentially of the nineteenth-century and in many ways far ahead of his time. Grandiose, self-absorbed, at home in both Heaven and Hell (well, perhaps a bit more in Hell), operating on the largest temporal and spatial canvases, bringing together mammoth forces to speak in one voice; but also episodic and arbitrary in construction, harmonically idiosyncratic and technically suspect, bombastic, addicted to overwhelming sound spectaculars, in short, in questionable taste; in these ways he epitomizes Romanticism. All of these characteristics of his music have been noticed and pondered in attempts to come up with an evaluation of this unavoidable maverick, a figure whose closest counterpart in his own time might be Mussorgsky, or in ours, Charles Ives. Today, with post-modernism, mash-ups, the valuing of discontinuity and fragmentary statements, Berlioz rides high. He is seen as a predecessor to the liberation of tone color as an independent element of construction, as in the music of Debussy. In the past, when polished craftsmanship and solid structure were primary virtues, critics often looked askance at Berlioz’s bulky, generically ambiguous compositions. Today, we recognize the uniqueness of his vision.