To open the Rochester Philharmonic Orchestra’s 93rd
season and his first full season as music director, Ward Stare selected four
popular works that nevertheless seem as though they are not performed often
enough. None of these compositions feature a soloist, but that did not prevent
their success with the listeners at the RPO’s season opener on Thursday night
at Eastman Theatre.
In Paul Dukas’s “The
Sorcerer’s Apprentice,” Stare employed a slow, especially deliberate tempo that
made the introduction of the work’s central theme sound all the more ominous.
Each instrument’s entrance – from the clarinet to the violin to the French horn
– was so cleanly articulated, it was as if each melodic phrase were being
served on a platter upon which the listener could feast. The piece’s iconic
melody came off as particularly jocular, the brooms unequivocally taunting the
apprentice as they diligently flood the magician’s quarters.
Piotr Ilyich
Tchaikovsky’s “Francesca da Rimini” possesses all the swirling ardor and
effusive melodic movement that so quintessentially represent the composer in
his defining works. But here, there is a decidedly more savage pathos at work,
and a dark cloud of sound gathers, grows, and permeates.
During this performance, Stare demonstrated one of
his best assets: strength of articulation. The conductor’s consummate control
of the orchestral sound could not be overlooked. Packed into every hand gesture
and every broad sweep of the shoulder was a concise and nuanced musical idea,
both intelligent and immediate. The ensemble sounded lean yet formidable. Its
delivery was limber yet intense. Ultimately, the collective musical energy was
irrepressible, as a fluid wave of beauty and dread emanated from the tip of the
baton.
How do you make a melody as culturally indelible
as that of Samuel Barber’s “Adagio for Strings” sound fresh and newly poignant?
As evinced by the RPO, the key is in articulating the moments between the
notes, thin slivers of space that were filled with an intense but subtle sense
of inexorable forward momentum. While deftly executed by the players, this
profound effect would have been neglected entirely if not for the keen ear of
Stare.
The program finale, Ottorino
Respighi’s “Pines of Rome,” opened with bright, fantastical colors from the
woodwind, trumpet, and percussion sections, the likes of which had not been
heard all evening. This in itself was utterly refreshing and satisfying, like a
veil being lifted.
And yet as the composition was unfurled, it somehow
took on an unflattering self-importance; the gravitas embedded in Respighi’s
sound felt fabricated and forced. Whereas the previous three works on the
program drew from an emotional well that seemed to spring up organically, wild
and uninhibited, the “Pines of Rome” sounded obsessively sculpted, to a fault.
Rather than appearing earnest and revelatory, the music was merely shrewd and
effective.
That is not to say that the RPO played the piece
poorly. On the contrary, Stare and company presented a cohesive aural image
throughout, which won over the large audience. In the end, “Pines of Rome”
simply was not the most moving music of the evening.
And who’s to say that a program can’t end with a
delightfully sardonic seven-minute work of pure fantasy, rather than a nearly
half-hour tour-de-force? It all depends on the impression one wishes to leave.
Although flipping the order of the bookend compositions would have been
inspired, Stare and the RPO made an excellent first impression overall on
opening night.
It remains to be seen what a consistent rehearsal
schedule and frequent Philharmonics series concerts with Stare on the podium
will do for the RPO and its interpretive abilities. The ceiling is a high one,
particularly for concerts featuring unfamiliar material for the orchestra. Next
up for Stare and the ensemble is an intriguing program that includes Jean
Sibelius’s Symphony No. 2 alongside Benjamin Britten’s “Serenade for Tenor,
Horn and Strings,” a work the RPO has never before performed.
While such a program populated by important,
well-known composers is not such a radical leap for Rochester’s classical music
audiences, it can help to subtly recalibrate listener’s expectations toward an
openness to music they are not accustomed to hearing live. At this early stage,
it seems that the RPO’s patrons would be receptive to just about any piece that
Stare opts to perform, though he is far from programming the kind of
progressive 20th and 21st-century music played by big-market orchestras like
the LA Philharmonic and the New York Philharmonic.
Speculation can be fun, but it’s not terribly
informative. Based on Stare and the orchestra’s work together so far, there
should be cause for excitement, however, as orchestra and city alike at last
have a dynamic music director again.
This article appears in Sep 23-29, 2015.
I read the entire “classical review”. I didn’t think I was going to make all the way through, but did reach the end. How many individuals will read this and truly understand and recognize the music so eloquently discussed and interpreted? How many are familiar with the titles and how many understand the following quote, “Where as the previous three works on the program drew from an emotional well that seem to spring up organically, wild and uninhibited, the Pines of Rome sounded obsessively sculpted, to a fault. Rather than appearing earnest and revelatory, the music was merely shrewd and effective.” What? I just may be showing my lack of education and understanding of the music and how one must interpret, judge or criticize the classics, but is this how you peek one’s interest in attending a concert? Is this the preferred method of recruiting additional individuals to become RPO members? Do most people in attendance know this music enough to understand this performance summery or classical review?
I’m thinking that very few understand this classical review. I do think many attend because it is thee place to be seen. It is the entertainment of the “upper crust”. And the fear of the common man “infiltrating” that “territory” is slim to none.
Do I attend a concert now and then?….yup. Do I bring my grand kids? yup again. But I do, very carefully, select a performance that they will appreciate, that is within their (and mine) understanding or at the very least,…pleasant to the ears.
I’ll just, in the future, skip one persons written word on whether the performance was “up to snuff”.
Absurd metaphors, Overwritten. Amateurish. RPO audiences open to anything Stare presents? Nonsense.
Dutch, these concert reviews are merely one person’s interpretation of what they perceived and attempt to verbalize, mixing in their limited musical background, knowledge and command of the language. They are very subjective and can be overly flowery as well as unfairly negative.
The metaphors are ridiculous! Who actually talks like that; but to some uneducated reader (of any class or distinction), it sounds like the reviewer knows what he/she’s talking about and is worth reading. Bull!
Music is art, so get out and enjoy it for how YOU interpret it and if you choose to read these reviews with any credence, it should be for laughs and entertainment only.
Well done article. I like the painterly quality of the writing; it felt like I was there with the writer. I agree whole heartedly about changing up the formula for the show structure. Going in big in the beginning with a lighter, imaginative piece at the end would be a lovely change from the norm, which personally I find has gone stale.
Just one more insight to the world of classical music from a person who would like to see the arts flourish. (and that’s as “flowery” as I will get). I support music programs for all of our schools, especially (if that’s allowed without appearing partial) for the urban schools. It’s no secret that music is valuable not just for the entertainment value, it assists and contributes in academics. This is especially true for math.
I have two wonderful granddaughters, both involved in music. It not only provides entertainment for Opa (me) but also requires time to practice, rehearsal and performing. That is time well spent, period. It will have a major influence on their education, social life and will keep them focused, in school, learning and enjoying it.
The classical music has always been a place for those with influence. Good to be seen at these concerts. I have watched this “play” out on a number of performances. It’s the same for golf, which most suck at, but regardless, that’s where the deals are finalized or at the very least supported.
That said I believe it to be critical that we take the classical music very seriously. That we try to expand the market, if you will. I would like to see more outreach to the schools. More music education, more emphasis on it.
No one has contributed more to bringing the classics back than Andre Rieu. He has performed all over the world and has had a major impact on the revival of classical music. While I can’t advertise it, he will be performing his annual home town (Maastricht) performance in October. This will be broadcast world wide and be presented in many local cinemas. Watch it and I guarantee you’ll be “hooked on classics”. It will have you attending the RPO classics at home. I promise you!