Concert Review: NYPO- Wang Yuja - Jaap van Zweden

Concert Review: NYPO - Wang Yuja - Jaap van Zweden

April 13, 2012, Avery Fisher Hall

NYPO - Wang Yuja - Jaap van Zweden

Prokofiev - Mahler

This concert may be the first appearance by both soloist and conductor in the NYPO subscription concerts (Wang had gone on tour with NYPO before), but both artists have long been familiar to me.

Back to 2006, when Edo de Waart had come on board the HKPO, and everyone got rev'd up by the publicity machine. But I  had been bored by the mostly shallow performances of de Waart from the very start, and concentrated on the guest conductors. One of the highlights of that year was Jaap van Zweden's definitive Shostakovich 8th, brilliantly executed and almost frightening in its intensity. Too bad I had not started to record things in my Blog then, and too bad I was not able to catch up with his concert earlier this season. In 2006, few of the EdW loyalists attended or spoke about that concert, but I was certain I wanted more of him, and was ecstatic he was chosen for the top job recently. I see now those EdW loyalists now flock to embrace him when they hardly listen to any concert not conducted by EdW earlier on. Now fast forward to Wang Yuja's HKPO 2010 concert, which I was fortunate to have attended, another highlight of HKPO.

The same Prokofiev Piano Concerto No. 3 featured on the program, and Wang Yuja exhibited the same strengths as before, a rock solid technique and ability to thunder out the bass line. It was evident too that she had refined her work in the more reflective passages, now more vibrant and colorful. The orchestral contribution was excellent, with her every step of the way. The NYPO sounded considerably more powerful and insistent in the loud passages, but I think Tang Muhai got more bounce and lyricism from the HKPO. The audience went wild with applause.

It must have been a little intimidating for van Zweden to conduct Mahler Symphony No.1 in this hall, with the same orchestra that Bernstein (an acknowledged influence) conducted. Many of the orchestral musicians under Bernstein are still around, as are some of the audience. If that were the case, he certainly did not show it, as he conducted the responsive orchestra in a forceful and fastidious manner, fine honing many moments to bring out all kinds of felicities in the score. The orchestra played magnificently; climaxes were tight and thunderously LOUD. I agree with the NY Times Review that it was all about excitement and lacking in lyricism. I also felt the showmanship did not generate the most coherent of readings. Reception was tumultuous. Although I did not feel entirely satisfied, I was impressed by van Zweden's ability to tone-paint and look forward to the future.