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Reviews of Lance's Tanglewood Festival Chorus Performances |
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The Patriot Ledger |
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CONCERT REVIEW: Ozawa returns, triumphant, to Tanglewood stage
By PETER M. KNAPP A wave of cheers and applause greeted Seiji Ozawa as he came onstage in the sold-out music shed at Tanglewood Saturday evening. It was an emotional moment: The Japanese conductor was making his first appearance with the Boston Symphony Orchestra since stepping down in 2002 after serving a record-shattering 29 years as BSO music director. Ozawa was returning to the place where in 1960 he won the prestigious Koussevitsky Prize as the outstanding student conductor. And he was returning to the podium for the first time since January, when he was hospitalized with bronchitis and shingles. Fronting a stage bursting with instrumentalists and the Tanglewood Festival Chorus, Ozawa compellingly directed one of his specialties, Gustav Mahler’s Symphony No. 2, the ‘‘Resurrection.’’ In the glorious natural setting of the Berkshires, hearing this epic work capped by the triumphant choral proclamation, ‘‘Rise again, yes, you will rise again,’’ was an uplifting experience. Ozawa has always excelled in leading large-scale works, and Mahler’s 80-minute masterpiece certainly is monumental. Its five movements lead from a violent, often bitter funeral march to a mighty depiction of the Last Judgment and the Resurrection. At 71, Ozawa seems to have lost little of his energy and bounce, though he seems to have more patience in letting the music unfold. His balletic movements make him fun to watch while adding musical adrenaline. The big moments of the finale, such as the Last Judgment, had terrific impact, Ozawa building tension and unleashing a shattering climax. The BSO’s brass players, both in the offstage bands and onstage chorales, had an exceptional night. Also stimulating were the contrasting inner movements, especially the charming second movement with its lilting Austrian country dance and the sardonic twists and turns of the third, an instrumental setting of Mahler’s earlier song, ‘‘St. Anthony of Padua’s Sermon to the Fishes.’’ Nathalie Stutzmann intoned ‘‘Urlicht’’ (‘‘Primal Light’’) in a plummy though somewhat overly dense contralto while soprano Heidi Grant Murphy could have brought more rapture to her high notes. New works often receive polite applause, but Friday night’s world premiere of Osvaldo Golijov’s ‘‘Azul’’ ignited cheers and a standing ovation for the delighted Boston-area composer, soloist Yo-Yo Ma, for whom it was written, and conductor Donald Runnicles. For cello and orchestra, ‘‘Azul’’ was commissioned by the Boston Symphony. Born in Argentina, the 46-year-old Golijov is one of today’s hottest composers. Audiences connect with his imaginative blend of diverse styles. And so with ‘‘Azul,’’ a cello concerto that could not be more different than Joseph Haydn’s Cello Concerto No. 1, superlatively played by Ma before intermission. While the Haydn piece exploits individual virtuosity, ‘‘Azul’’ is largely inward-looking and places the soloist in a social, collaborative setting. ‘‘Azul’’ means ‘‘blue’’ in Spanish, to Golijov ‘‘the color of night.’’ Indeed, the piece seemed to rise darkly from the depths, vibrant lower strings providing a bass line reminiscent of an 18th-century chaconne, a form of variations. Initially slow and solemn, the music often sounded like a Lamentation or a piece by J.S. Bach in modern dress. Golijov even fronts his specially seated orchestra with an unusual ‘‘continuo’’ of accordion and percussion. This multi-layered piece, however, doesn’t stay put in the updated baroque as Golijov moves through other styles and elicits provocative sounds from the orchestra. This piece seems to move from Leipzig to Tashkent, ending in a mysterious prolonged whoosh that conjured up visions of outer space. Along the way, Ma and the rearranged string section produced eerie, overtone-saturated passages; with wah-wah mutes, the brass rudely interrupted. One orchestral passage evoked the cacophony of the jungle. Then the scene shifted to the Silk Road with Near Eastern-sounding melisma and a remarkable duet between Ma, playing rapid arpeggios, and percussionist Jamey Haddad. While ‘‘Azul’’ sometimes seemed overly long and one longed for a detailed road map, it certainly had impact. Making his BSO debut on the podium Friday and yesterday, Runnicles is an experienced and savvy conductor. Born in Scotland, he has been music director of the San Francisco Opera since 1992 and is principal conductor of the Orchestra of St. Luke’s and principal guest conductor of the Atlanta Symphony. Rare among conductors, Runnicles beats time with his left hand. He delivered impressive results in a variety of works. After opening Friday’s program with Leos Janacek’s early and attractive Idyll for full-bodied string orchestra, Runnicles slimmed down the ensemble for a lithe, chamber-scaled backdrop for the Haydn concerto. Ma stroked Haydn’s sunny melodies with huge, blooming cello tone and a vast dynamic range, then zipped spectacularly through the last movement’s swift passagework. Runnicles finished up with a remarkably vivid and expressive performance of Edward Elgar’s Enigma Variations, from the powerful thrust of the seventh variation to the noble ‘‘Nimrod’’ theme. Highlighting Sunday’s concert was a sizzling performance of Beethoven’s Piano Concerto No. 5, the ‘‘Emperor,’’ with Lars Vogt as soloist. With his big, bright tone and authoritative approach, the German pianist immediately commanded attention. Showing a strong and vivacious interpretive grasp, Vogt played with admirable clarity. His trills pealed like bells, while his runs tumbled like waterfalls off a cliff. Runnicles and the orchestra gave him lively partnership. The BSO’s strings provided a serene and cushiony backdrop for the slow movement, Vogt’s subtle accents giving the melodic line a heartbeat, while soloist and orchestra engaged in a spirited dialogue in the Rondo finale. The program began with a springy and dramatic account of Mozart’s ‘‘Prague’’ Symphony, No. 38 in D. The Suite from Richard Strauss’s ‘‘Der Rosenkavalier’’ began rather roughly but after the sublime music of the last-act trio waltzed away amusingly with the mocking exit of Baron Ochs. TANGLEWOOD Copyright 2006 The Patriot Ledger |
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The Patriot Ledger, 400 Crown Colony Drive |
