Tag Archive for ‘Stravinsky’
Intimate Conversations, Bach and Beyond: Bach, Kabalevsky, Stravinsky, Mendelssohn, and Telemann — Kenneth Cooper and Friends at Camphill Ghent
It is perhaps best to begin this review with a word of practical advice. This concert was sold out. The hall at Camphill Ghent is rather small. Seating is general. So for future events, you would do well to buy your tickets early and to arrive early. But that should be no hardship. It will give you all the more opportunity to meet members of the Camphill Ghent community and others who live in the area, and that can only add to the pleasure of the concert. As far as seating goes, all the instruments in this program, with their wide but compatible range of color and dynamics came through with clarity, warmth, and strength, and I got the impression that that obtains in every part of this intimate space.
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.
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.
François-Xavier Roth with the BSO in January, with solo turns from Elizabeth Rowe (flute), Jessica Zhou (harp), and Renée Fleming (soprano)
The Boston Symphony Orchestra started the new year well with two programs under the direction of guest conductor François-Xavier Roth, who hails now from Cologne and is very active in Europe, much sought after. Conducting without baton, vigorous and engaged, Roth holds the players’ attention and gets what he wants. Orchestra and audience alike feel caught up in an unusually tense and purposeful address to the music at hand.
As the Bard Music Festival has sailed through the great names in European and American music over the past twenty-five years—although there are some people who don’t like Elgar, Liszt, or Wagner, and some who doubt Saint-Saëns’ or Sibelius’ importance (if they attended the Festival they left with their minds changed)—the focal points of the festival have been generally unchallenged. This year, with Carlos Chávez, the first composer from south of the border, there has been more debate. Many attendees—and especially non-attendees—questioned the worthiness of Carlos Chávez as a subject. He is largely forgotten, and many of those who do remember him, do not think of him kindly. Even Leon Botstein himself expressed a critical attitude towards Chávez,
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.
Every summer, in the course of Bard College’s Summerscape, the expansive net of entertainment, education, and enlightenment Leon Botstein and his cohorts cast about the Bard Music Festival, we get an opportunity to enjoy a rare opera, which has either fallen out of, or never entered, the basic repertory of the art form—an opera you will never see at the Met. In many cases the reasons these works disappeared is either straightforward or practical: tastes change, or the management of mainstream opera houses ceased to find it workable to engage a cast of six or eight lead singers when the most popular operas required only two. In other cases the reasons are mysterious, complex, or otherwise fascinating.
Matt Haimovitz and Christopher O’Riley Open the Summer Season at Tannery Pond with All-Russian Cello Sonatas
The barn at Tannery Pond is particularly well suited to cello music — a kind of cello-within-a-cello, the musical equivalent to the old literary framing device, maybe. The instrument’s range and woody timbre are particularly appealing, even restful, resting on the ear’s most sensitive range of pitches, so it is no wonder cellists seek out such acoustics, or do things like making arrangements for 6, 8, or 10 cellos. In fact listening in the Tannery barn gives one the overwhelming urge to make music in it, even if just laying down a few purple chords on the piano — in that way perhaps Rachmaninoff is particularly well suited to the barn too. The audience did seem thrilled by Haimovitz’s and O’Riley’s playing of the young Rachmaninoff’s sonata in G minor. Rightfully enough, it was the sort of full blooded and full bodied (figuratively speaking, the musicians bodily movements were in fact very restrained) interpretation of Rachmaninoff that doesn’t spoil easily. They did take certain risks, though, over and above those of choosing such unplayable chamber music, O’Riley especially coming into his own in this sonata, which is really more of a duet between equals. His piano style seemed more at home with this kind of music than pure accompaniment, which is an art in itself, partly because he seemed more easy with the dynamic of two equals playing together, something sounding more like a trio or a contrapuntal quartet.