Orchestre Metropolitain de Montreal - Yannick Nezet Sequin - Joyce Didonato

November 22, 2019, Carnegie Hall
Orchestre Metropolitain de Montreal - Nezet Sequin - Didonato
Mozart - Bruckner

As I love the Montreal Symphony Orchestra I had high hopes for this "second" orchestra of the city, especially since their playing in the Bruckner cycle on ATMA was of a high order. I was not disappointed.

Mozart often opens for Bruckner, but this time it with a twist. First came the Overture to La Clemenza di Tito. The playing of the orchestra was absolutely delightful, lithe and alert, and Nezet-Sequin showed his expertise in tone painting, even in small details. Then came two arias, "Parto, parto, ma tu ben mio" and "Non piu di fiori". Although DiDonato barely was able to dip into the lowest part of the latter, in general they were very well sung. But, as with many American singers, her diction was not the clearest and, more importantly, I remain strangely unmoved by her characterization. And so, I enjoyed them rather less than her French program last year with the Philadelphia (here) and in German Opera in 2011 (here). Part of this may be due to the opera itself, which I enjoy less than, say, Figaro. This was proven when as an encore she sang Cherubino's "Voi che sapete", which I enjoyed more.

My fingers were crossed before the Bruckner 4th began. Nezet-Sequin is ubiquitously present in NY, but up to now I almost always missed something when he conducted big works. He is a Bruckner veteran, and his Bruckner cycle on ATMA has an equal number of admirers and detractors (count me in both camps). It's amazing that this marked the third time I have heard him conduct Bruckner. The Bruckner 7th earlier this year with the MET Orchestra (here) and the 9th in 2014 with the Philadelphia (here) both left me somewhat unsatisfied.

But this time around, with a fine orchestra that has been his own for the longest time, things were definitely different. Overall, the conducting was patient and the architecture very well maintained. Some of his ways with Bruckner were similar to previous outings. In the first movement, he overdrives sometimes and the climaxes are equally loud. Also, the way he moulds his strings is towards the legato side, seamless, which, though beautiful, doesn't always suit Bruckner. The second movement could have used a little more mystery, if not spirituality. The scherzo was well done. Most satisfyingly, however, was that the finale was well built up and all of one piece.

The seating was a little unusual. Divided violins, lower strings in the center. The double basses were in the last row center, flanked by horns to the left and the rest of the brass to the right (quite a hole between them and the strings on the right. The sound was perhaps a little "French", lighter than usual, especially the brass. Though the lower brass sound could have used more heft, commendably the horns were awesome and unfaltering, The finest concert I have heard Yannick done.

The same program 2 days earlier in Chicago.

Mahler Wesler-Most Shostakovich Petrenko Buchbinder

November 9, 2019, Carnegie Hall
Bavarian Radio Symphony Orchestra - Vasily Petrenko - Rudolph Buchbinder
Weber - Mozart - Shostakovich

The Bavarian Radio Symphony Orchestra visits Carnegie Hall annually and gives 2-3 grueling concerts on consecutive days, a testament to their stamina. On this occasion, the previous night was conducted by director Mariss Jansons, who became unwell. Vasily Petrenko, who happened to be in town for the Met's Queen of Spades, became a last-minute substitute. And that was my fortune. Not only is Petrenko a Shostakovich expert (his Naxos series is one of the best), I have liked his conducting on a date with the Oslo in HK before (here).

Before the big piece, Petrenko showed his ware even in the first half. Weber's Euryanthe was well organized. Then came Mozart's Paino Concerto No. 23, the accompaniment of which was fluent. Rudolf Buchbinder was an unusual soloist, displaying legato playing of the first rank and staying shy of banging it out in big moments. Part of this may be due to his reduced dynamics (due to age), but his experience and ways were compelling. The audience was thrilled and rewarded with an encore of Strauss waltz.

The Shostakovich Symphony No. 10, minus an occasional glitch, was played with the utmost attention to detail and overall architecture. This was a patient reading that brought out all the unease and suspense, and enigma, of the piece, that at the same time avoided gilding the lily in the big moments. Ensemble was tight and never flashy. A great performance.

The orchestra is imho one of the world's best. In the first half, the winds were irreproachable, though they became slightly more cautious in the second half and I sometimes miss some savagery. But with Peternko coming in only on that day, this was a miraculous moment.

Here is a good review of this concert, and here is one for the day before, when Jansons became ill (read the comments too; curiously, this site, which reviews all concerts did not have one for this one).

October 4, 2019, Carnegie Hall
Cleveland Orchestra - Franz Wesler-Most - Yefim Bronfman
Widmann - Mahler

I was not expecting much going into the concert, having been lukewarm to Franz Wesler-Most's recorded works, but was genuinely surprised.

Although the ubiquitous Yefim Bronfman has never been a personal fave, the Jorg Widmann work for piano, Trauermarsch, inspired by the Mahler on the same program, was quite enticing, and sonically resplendent. I enjoyed it, but the relationship with the Mahler proved elusive to me.

The Mahler 5th was tightly argued and, of course, fastidiously played by the Clevelander's. It was a non-sentimental approach but one that was not dispassionate (unacceptable in Mahler), rather wide-eyed and a just a little weary. It was cogent and much better than the more recent 5ths I have heard (including BSO/Nelsons and BSO/Alsop). It was fluent, detailed and did not sound forced, but one struggles for descriptive words. An excellent performance, that.

Here is another report of the concert. Notice the writer, like I, don't have too many words for the Mahler.

Note from Mumbai

Note From Mumbai

Dear Readers, I am excited to have my friend Vivek R contributing occasionally. He lives in Mumbai. From what I have read the City receives some very interesting musicians. As one who has particular interest in Russian artists, I read with envy.

"...Meanwhile in Mumbai a whole season passed by. Like that! 

Lazarev conducting Stravinsky’s Petrushka was amazing. It was preceded by Barry Dougas playing a competent Brahms Piano Concerto 2 (not one of my favourites). 

Lazarev apparently conducted a brilliant Spartacus and Tchaikovsky which I missed. Underwhelming (for me) was Barry Douglas’s Mussorgsky’s Pictures at an Exhibition (big sound but missing drama, but many others seemed to have enjoyed it - I heard Sofya Gulyak a few years ago and man did that have all the drama) and a patchy Midori concert - an awesome Debussy being standout. 

There was also a piano for 4 hands with Roberto Prosseda and his wife - a very lovely concert with a pretty Mendelssohn and fantastic Ravel (Mother Goose) and Schubert Fantasia. 

There was also a great concert with Marat Bisangaliev and Prosseda playing Chausson concerto for violin, piano and strings and Mendelssohn which I am biased to like!  Alas I was in the throes of Office politics that evening and the mind wandered. 

Lazarev conducting Russian music. Outstanding! (editor: completely agree!)

Vivek 

Ps. A moment of pride for me. Someone did a bootleg recording that I don’t condone but am grateful as it features my youngest on the cello for an encore. My eldest debuted as a second violinist (first row).