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BSO's stab at Berlioz's unwieldy `Romeo' a bit much
By Keith Powers
Saturday, December 4, 2004If we're going to get to love James Levine, we're going to have to love his challenging programs. To wit: Thursday evening at Symphony Hall, with a performance of Hector Berlioz's ungainly ``Romeo and Juliet'' for orchestra, soloists and chorus.
The extraneous noise - coughing, chatter, gum smacking - and many empty seats after intermission, told well that this program did not please all. But cut the guy some slack - Levine is here to change our listening habits, and that he did this evening.
This audience will never hear this work again, given its large-scale format and difficult story line. The work moves restlessly from chorus to orchestra to soloists, and the famous story line gets lost in the shuffle.
Everyone knows the history of Romeo and Juliet. Berlioz chose to tell it with the master - Beethoven - in mind. Beethoven's Ninth Symphony forms the model for ``Romeo and Juliet.'' Berlioz created a large-scale orchestral work that hardly focuses on its romantic story line, but places all the emphasis on intricate orchestration.
It wasn't a night for soloists: The bill proclaimed Lorraine Hunt Lieberson, who sang only a cameo in the first half. Likewise tenor Mathew Polenzani. Bass-baritone Julien Robbins offered a long share of Friar Lawrence after intermission, but that was mostly recitative.
This work is a symphony, with only casual nod to the singers.
The focus was on Levine, and his newly defined orchestra. It was a challenge, somewhat unmet. All of Levine's work this fall has been interesting: This was the first piece that raised questions about programming. To perform Ligeti, Schoenberg, Stravinsky and other 20th century works is one thing; to bring to light unobserved masterpieces of earlier centuries takes another kind of bravery.
The reading lacked intensity, and sometimes, for the first instance in these great honeymoon weeks, direction. Band members were seen laughing at the excessive audience noise, a sure sign of distraction.
Levine's fault: He's attempting too much at first. Welcome to Boston; we love our music. It's a honeymoon, and this listener is ready to say, ``Sure honey, whatever.'' Maybe not next time.
( Boston Symphony Orchestra, conducted by James Levine, with Lorraine Hunt Lieberson, at Symphony Hall, Boston, Thursday night. )
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