TMC orchestra performances tend to be somewhat haphazard assortments of repertory, mostly of high quality, but diverse rather than coherent as programs. Monday night’s concert was different: there were resonances among the works that indicated a triangle of influences and artistic interests with the apex being in the music of British composer Thomas Adès, who conducted half of the program.
The Merchant of Venice has always been called a problem play. I might call it a miracle play. Here is why. There is a role in this play which dominates—with fewer than 350 lines. In the hands of Jonathan Epstein, Shylock was believable, unavoidable. It is important to remember that the play comes to an end without Shylock, although there is some of his equivocation in his daughter, clearly. In Mr. Epstein’s performance I heard a rare understanding of how the role finds its power. His rich voice ranged very little from loud to soft, fast to slow.
The excellent Stephane Denève chose two works of Hector Berlioz for his TMCO concert. Wholly remarkable was a performance of Les Nuits d’Été. The maestro gave these songs a sound I’ve never heard before. It was ravishingly quiet to begin with, not unlike the nearly silent playing Simon Rattle can achieve in his Mahler performances. It was like something in the air. Even more unforgettable was the coaching he had done with the young singers, each a Fellow of the Tanglewood Music Center. So diaphanous was the orchestral environment for each of the songs, the young voices could merely whisper and be heard. “Au Cimitière” in particular benefitted from this. Sara Lemesh said the words as much as she spoke them.
These last weeks there was French music everywhere. An excellent program of alternating Debussy and Messiaen songs at Tanglewood with the Tanglewood Fellows, William Bolcom and Joan Morris at Mohawk Trail Concerts, and a Bastille Day performance of Tartuffe the Imposter at Shakespeare and Company. A lot of ink has been spilled describing, defining, perhaps destroying what is called “French style.” Bad pedagogy of this sort tries to get you to do something less than what you would normally do with a phrase if it were not French music. There is much pontificating about accuracy in the pronouncing of the language. French singers that I have known seem much more concerned with the flow of the language and the connectedness of it. Because a piece of music is easy on the ear does not mean it is less affecting for the heart.