ORQUESTA EN ASCENSO

Hay un buen refrán que dice que el todo es mayor que sus partes, lo cual no necesariamente es verdad con muchas orquestas, pero si se agrega un nuevo Director Artístico -Alondra de la Parra - a la Orquesta Filarmónica de Jalisco, las partes no solo se multiplican exponencialmente, sino que se electrizan de energía!

  Asistí al Programa 6 este viernes 13 de julio en el bello Teatro Degollado.  El programa orquestal abrió con Silvestre Revueltas.  Esa obra puede ser aterrorizante e hipnótica y la orquesta estuvo a la altura de ello. Es muy colorida e inventiva, no comprendo porqué no aparece más frecuentemente en los programas…… felicitaciones a Tomás Rosaleny que estuvo atinado en el solo tuba, y al excelente trabajo de la percusión que estuvo clara y firme.

  La Bella Durmiente de Tchaikovsky fue la siguiente pieza del programa que estuvo totalmente vendido (efectivamente, tres días antes del concierto ya no se podían encontrar boletos!).  Puede que no haya nada más bello que Alondra de la Parra en el podio – es poético que esta joven directora la brinde a la orquesta justo lo que necesita en términos de ritmo y, al mismo tiempo, le de al público un espectáculo fabuloso.  Para esa suite de cinco movimientos, gozamos de toda una gama de sonidos, desde valses con pegajosos ritmos a escenas introspectivas, ejemplificadas en el popular Vals del Acto 1.

 

Alondra de la Parra in Shostakovich


Después de un breve intermedio, el programa terminó con la Quinta Sinfonía de Dmitri Shostakovich, una de las obras más dramáticas y bien estructuradas del repertorio orquestal, la cual juega con dos notas “ba-bum” y su inverso a través de los cuatro movimientos.  Quizá siendo viernes 13 afectó a algunos de la orquesta, como el corno principal fuera de tono (que tampoco estaba bien en los ensayos de esa mañana, que pena) y el batón de Alondra de la Parra que salió volando hacia las violas (he visto que eso le pase a muchos otros directores, pero nunca había visto que tuvieran uno de repuesto – ella sí y siguió dirigiendo como sin nada!).  Fuera de eso, Shostakovich hubiera estado fascinado con los tempos rápidos, líneas fogosas y genuina excitación en esa ejecución.  Muy atinados fueron los solos del primer violín, Bryan Lee, la arpista Guadalupe Pérez y el tecladista que tocó el piano y la celesta (no nombrado en el programa pero estuvo excelente!).  También tuvimos una fabulosa ejecución del xilófono (tantas notas lúcidas que se repetían en consonancia con los violines y las flautas), así como un soberbio final con el tímpano y el tambor bajo en perfecta sincronía con de la Parra (en los ensayos fue igualmente excitante ver cómo se perfeccionó eso!).

  El público se puso de pié al final del programa y, después de la reverencia por de la Parra y su aceptación de flores, los miembros de la orquesta no se levantaron con la solicitud de Alondra para en lugar aplaudirle a su Director Artístico en conjunto con el público.

  No puedo expresar suficientemente lo encantador que estuvo este concierto y la maravillosa música que emanó del mismo. Sala de primera: palomita. Director de orquesta fuera de este mundo: palomita. Orquesta deseosa de colaborar: palomita.  Público energizado: palomita.  Esa es la receta para un gran entretenimiento y el éxito de la Orquesta Filarmónica de Jalisco y de Guadalajara. Bravissimo!

  Este programa se repite este domingo en la tarde a las 12:30 y parece que está totalmente vendido, pero vale la pena checar en taquilla por hay algunas cancelaciones – y asegurarse de comprar boletos para los siguientes conciertos en www.ofj.com.mx

Traducción por Luis Catán

Orchestra on the rise

There's a great saying about the sum being more than its parts - which isn't necessarily true for all orchestras, but add the new Artist Director Alondra de la Parra to the Orquesta Filarmonica de Jalisco and not only do things multiply exponentially, they electrify!
I heard the Programa 6 on Friday, July 13 in the beautiful Teatro Degollado. Silvestre Revueltas' Sensemaya opened the all orchestra program. This work can be terrifying and hypontic, and the OFJ was up to the task. It's colorful and inventive, I don't know why it doesn't appear on more programs than it does...kudos to Tomas Rosaleny who nailed the tuba solo and the excellent work of the percussion section which was crisp.
Tchaikovsky's Sleeping Beauty was next on the sold out program (yes, three days before the show, you could not find tickets!) There may not be anything more beautiful than de la Parra on the podium - it is quite poetic that this young leader gives her orchestra just what they need in terms of rhythm, and at the very same time, gives the audience a breathtaking show. For Tchaikovsky's five movement suite, it ran the gamut of toe tapping waltzes to introspective scenes, best heard in the popular Valse of Act I.

Alondra de la Parra in Shostakovich

After a short intermission, the program finished with Dmitri Shostakovich's Fifth Symphony - one of the all time dramatic and wellcrafted orchestra works, playing with two notes, "bah bum" and the reverse "bum bah" through all four movements. Perhaps Friday the 13th struck some in this performance, with a complete left field solo from the principal horn that was clearly off (which had not improved from the open rehearsal in the morning, sad.) and a flying baton from de la Parra that landed in the violas (I've seen that happen lots to conductors, but never have I seen them have a backup baton - she did, and continued without a blink!) Other than that, Shostakovich would have rejoiced in brisk tempos, fiery lines and geniune excitement of this performance. Especially touching were solos from concertmaster Bryan Lee, harpist Guadalupe Perez, and the keyboardist playing piano and celesta (not named in the program, but she was spot on!) There was also delightful, bone chilling percussion work from the xylophone (so many great repeated notes right along with the violins and flutes) as well as the stunning finale with timpani and bass drum in perfect sync with de la Parra (in rehearsal it was equally exciting to see this be put together!)

The audience was on its feet and after solo bows, de la Parra was presented flowers and as orchestras can do, refused to stand when Alondra motioned, allowing their Artistic Director warm applause from the audience and them.

I cannot express enough how delightful this concert was, and what music making was shared. World class hall, check. Out of this world conductor, check. Orchestra willing to work, check. Excited audience, check. This is the recipe for great entertainment and success for the OFJ and Guadalajara.

Bravissimo!
This program repeats Sunday afternoon at 12:30, and was reported sold out, but I would check at the box office for any cancellations, and be sure to get season tickets for the next concerts at http://www.ofj.com.mx/

Lea esta revisión en español: http://classicallyhip.blogspot.com/2012/07/orquesta-en-ascenso.html

Five Things about the St Lawrence String Quartet

I caught the Penn State performance of the St. Lawrence String Quartet (pictured below left) with soprano Heidi Grant Murphy (seen right) and pianist Kevin Murphy (below right) last night in State College.

1. The program was re-arranged, and as violinist Geoff Nuttall explained on the second half - despite their manager's insistance - that "the best was saved for last", even though it was the "modern piece." Nuttall said his dad used to complain in Canada that he'd go to concerts and have to sit through the modern piece before he could get to the romantic stuff.
In this case, it was the world premiere of Roberto Sierra's Songs of the Diaspora (Sierra pictured very bottom left). Geoff also joked (with the help of an usher?) that the doors were barred, and a clunk was heard! No one left after the announcement either.
So the line up was Chausson, Shostakovich, intermission, Debussy and Sierra. (Originally and printed in the program were the Shostakovich, Chausson, Sierra, Debussy.)

2. Ernest Chausson’s Chanson Perpétuelle, or Song without End, was a delightful way to begin the program, and in the capable hands of Heidi Grant Murphy, Kevin Murphy and the St. Lawrence Quartet (hereafter referred as SLSQ), you really didn't want the song to end. Especially charming was the ease of Murphy's voice changing from silky smooth melodic lines to nasal French inflections.

3. The SLSQ were like cartoon caricatures, in the best possible sense. In a way, they reminded me of the Guarneri Quartet circa 1980s: a virtuosic, flashy First Violinist, and steady and reliable Second Violinist, and mellow yet astounding Violist, and a energetic and well grounded Cellist.
Really the lineup for the SLSQ is just right, they ineract superbly and with the same musical and physical motion. Their Shostakovich Third Quartet, out on EMI Classics with the 7th and 8th Quartets, is dead on. And live, it was superb.

4. After intermission, I was thoughly disappointed by the Debussy performance. It wasn't that the flippant and carefree reading wasn't without excitement or depth. At times, it was breathtaking and gorgeous, but too many times the tempos were overdone, ridiculously slow and predictable accelerations - which could have been effective if it were annoying and for no apparent musical reason. There were also some humorous missed notes, such as glissandi that never made it to the actual note. I should say it was all done in the SLSQ character and with a good unison ensemble approach. It just wasn't enjoyable for myself. Ol' Claude might have done a little spinning himself in the grave along with me in my seat.

5. Roberto Sierra's Songs of the Diaspora was the reason I was at this concert, and I wasn't disappointed. Again, Murphy & Murphy joined the SLSQ for perhaps what was the biggest workout of the night. Sure, there were some ensemble issues (Scott St. John taking the 1st Violinist spot wasn't together with Violist Lesley Robertson on the opening Ocean/Klezmerish run - although when it returned, they were spot on) but overall it was a dynamic and interesting piece. The mostly lyric and traditional songs are of a moderate tempo and let each member make some music - lots of harmonics, pizzicati and wonderful interaction for the quartet and piano.
Of the seven, two are at a faster tempo: the fourth, "My mother-in-law, the evil one" and the final "The siren" are engaging and dramatic. They help shape the cycle from the idyllic trance Sierra weaves. Besides the rhythmic uniformity, I thought there might have been more ensemble variety, but then again, if you're writing for a piano quintet and soprano, why NOT have them busy all the time?
While the director of the arts center mentioned to be quiet while following the texts (they had an insert of all the songs with translations) the performers still had to wait for all of the noise to stop as the audience turned pages quite loudly (at least it wasn't typically during the music, but between movements!)
All-in-all, the Songs are well crafted and suit the strengths of the ensemble in an imaginative way.

The Songs of the Diaspora will be played across the country by these artists, catch it if you can!

Afterthought, or Post-Script: I hate mentioning what the performer wore, but yes, Heidi made a wardrobe change (no manfunctions, hahaha) - from a gorgeous springlike ensemble for the Chausson to a elegant black outfit for the Sierra.

You can read another account of this evening here.

5 Things about Cellist Efe Baltacigil

The "Distinctive Debut" at Carnegie Hall of Cellist Efe Baltacigil and Pianist Anna Polonsky was Friday night at Weill Recital Hall.


1. The program consisted of four sonatas ranging almost 200 years in music (1741 for the Bach and 1936 for the Saygun) and certainly each were treated with stylistic skill by both performers.


2. Efe uses the cello for a wide range of colors and emotions - I'm stunned as a fellow string player at his wide palette. I'm less thrilled with his way too audible breaths - mind you the audience was a bit noisy with coughing and sniffles too. But seriously at one point early on, I thought there was something wrong with his bow, when I realized, no that is his breath. (Some fine tennis players too make a bit too much noise when returning a serve [think Maria Sharapova] and you get over it...)



3. The choice of an encore - which the audience clearly wanted - was quite touching, the Andante movement of the Bach sonata in memory of a past professor at Curtis, Edward Aldwell. Aldwell was well respected for his scholarship of Bach and this was spot on.



4. Anna Polonsky was stunning and near perfect in the recital - especially moving was the Fantasia of Franck's sonata.



5. Most revealing was the musicality Baltacigil exuded in Ahmet Saygun's Sonata, opus 12. It's not a well known or great work, but in the hands of Efe and Anna, it sparkled like a diamond - with moments of pure joy and passion. I'd liken this particular work to a "Turkish" Debussy.



I'm looking forward to another recital this spring at Carnegie's Weill Hall when Joyce DiDonato makes her debut in Great Singers in Weill: Evenings of Song. You'll remember Joyce is a WSU grad and we had way too much fun in school. It's Thursday March 1st, 2007. One not to miss!