Oberon's Grove

Stravinsky ~ Symphony of Psalms

L'Orchestre National de France and Choeur de Radio France, conducted by Kristjan Järvi (above), perform Stravinsky's SYMPHONY OF PSALMS at the 2013 Festival de Saint-Denis.

Watch and listen here.

Béla Bartók ~ Cantata Profana

From Hungary, a 2002 televised performance of Béla Bartók's Cantata Profana conducted by Hamar Zsolt (above), with soloists Molnár András (tenor) and Viktor Massányi (baritone).

Watch and listen here. Note that the music starts at 5:00.

Herbert Blomstedt @ The NY Philharmonic

Above: Maestro Herbert Blomstedt; photo by Gert Mothes

Author: Ben Weaver

Saturday February 4th, 2023 - It is always a pleasure to see and hear Maestro Herbert Blomstedt conduct, and his return to the NY Philharmonic (February 2-4, 2023) was a fascinating night of music-making. Concertmaster Frank Huang helped the maestro on to the stage, where a piano was placed front and center for the evening’s first piece: Ingvar Lindholm’s Poesis (composed in 1963 and revised in 2011). Maestro Blomstedt conducted the work’s world premiere in 1964 in Stockholm, and has led performances of it many times over the years, so there is no one better equipped to lead the NY Philharmonic premiere of this strange and challenging piece for the first time. Blomstedt delivered an often funny introduction to the composition before the performance (he informed us, for example, that when a particular solo from the double-bass finally arrived we would be pleased to know that the piece is almost over.) 

It’s difficult to give a summary of Poesis. If any musical composition was proof that any sound made by a musical instrument is music, this work would be it. It opens with sandpaper being rubbed together (Mmaestro Blomstedt informed us it was #4 sandpaper 4). And the piece goes in every direction (downhill, uphill, sideways) from that point on. At the center of the work is the piano cadenza (the part of Poesis Lindolm revised most extensively). The pianist Eric Hubner rarely played the piano the traditional way: with his fingers. A great deal of his playing involved smashing the keys with his elbows, plucking the strings directly - sometimes with his hands, sometimes with a plastic card (Blomstedt said it resembled a hotel room keycard), or a small mallet. Some lovely sounds can be made on the piano without the keys. I wonder if anyone will ever write a piano concerto and ignore the ivories altogether. It could be a very interesting piece! Finally principal double-bassist Timothy Cobb played his solo - a cue that Poesis was almost done. The work’s final note was the only part I could repeat: it resembled the great Interlude from Berg’s Wozzeck after Marie’s murder. 

Poesis runs only a little over fifteen minutess. Often contemporary works can feel so much longer than their run time. What’s remarkable about Lindholm’s work is that while it sounds like a collection of random orchestral sounds and is completely un-hummable, it is also quite memorable and not at all boring. It’s an experience, for sure, and we were fortunate to have its dedicatee Herbert Blomstedt conducting it for us. The orchestra acquitted itself most admirably here.

The second half of the concert was a dazzling performance of Hector Berlioz’s very familiar Symphonie fantastique, Op. 14. Composed in 1830 and revised two years later, this is Berlioz’ most recognizable and oft-played work, and a cornerstone of the symphonic repertoire. I wish I loved it more! I will continue trying because there is so much magnificent music in it. But bursts of brilliance are separated by sections of seemingly aimless meandering. I’m always reminded of Rossini’s quip about Wagner: there is some wonderful music separated by boring quarters of an hour. I hope some day my view will change. (Of Berlioz’ orchestral works, I confess I much prefer Harold en Italie, which is note-perfect and I wish it was performed more often.)

There was much to admire in the performance this evening. Maestro Blomstedt coaxed loving, ravishing playing performance from the Philharmonic. He divided the violins to both sides of the podium, and I love this configuration. The separation of the violins creates an aurally wonderful stereo effect of the two sections - whether playing back and forth or in unison - with the deeper sound of the lower strings coming in from behind them. I wish this was the permanent seating arrangement!

There were, predictably, magnificent solo playing from the principals. Robert Langevin’s flute, Liang Wang’s oboe (on and off stage), Pascual Martínez Fortenza’s clarinet were magical. The Valse had an infectious lilt, the March to the Scaffold could have been a bit more violent, but the Witch’s Sabbath was savage.

The ovation was huge. The entire audience leapt to its feet to celebrate Herbert Blomstedt, one of the most beloved conductors for many generations. The orchestra too, sometimes grouchy at curtain calls, was glowing in their appreciation for this great musician. I hope we will see him again!

~ Ben Weaver

Vladimir Ruzdak as Posa in DON CARLO

Croatian baritone Vladimir Ruzdak sings the Prison Scene from Verdi's DON CARLO in a German-language performance given at Hamburg in 1968. 

The scene is in two parts: knowing he has made an enemy of the Grand Inquisitor, and that his days are numbered, Posa comes to visit Don Carlo in prison. A shot rings out, fired by one of the inquisition's minions:

Vladimir Ruzdak as Posa ~ DON CARLO - in German - Hamburg 1968 ~ Part 1

In a tender farewell, he bids Carlo to save the people of Flanders:

Vladimir Ruzdak as Posa ~ DON CARLO - in German - Hamburg 1968 ~ Part 2

Vladimir Ruzdak was born in 1922 and made his operatic debut in 1946; thereafter, he enjoyed a 40-year career with bases at both Zagreb and Hamburg, where - between the two cities - he chalked up an incredible 2500 performances.

Among his career highlights were performing Britten's WAR REQUIEM at London with the composer conducting, and taking part in the premiere of Hans Werner Henze's PRINZ VON HAMBURG in 1960 at Hamburg. In addition to 80 operatic roles, Mr. Ruzdak sang lieder, folk music, and even pop songs.

From 1962 to 1964, Vladimir Ruzdak appeared 16 times at the Metropolitan Opera in New York City, debuting as Amonasro. He sang opposite such Met luminaries as Licia Albanese, Dorothy Kirsten, Anna Moffo, Birgit Nilsson, Leontyne Price, Giulietta Simionato, Carlo Bergonzi, and Franco Corelli. 

In November of 1963, I saw Mr. Ruzdak in the role of Valentin in FAUST; it was my second performance at the Old Met (following a DON GIOVANNI on the previous evening). Read about that experience here.

~ Oberon

Anne-Sophie Mutter & Mutter Virtuosi

Above: Anne-Sophie Mutter strides onto the stage at Carnegie Hall to a warm welcome; photo by Jennifer Taylor

Author: Oberon

Friday February 3rd, 2023 - A hall-filling crowd ventured out on this, the second-coldest evening of the Winter to date, to hear the beloved violinist Anne-Sophie Mutter and her chamber ensemble, Mutter Virtuosi, at Carnegie Hall. The program offered works by Vivaldi and Saint-Georges along with the New York premiere of Unsuk Chin's Gran Cadenza for Two Violins. 

Entering the Hall, which itself was extremely chilly, we saw a beautiful sky-blue harpsichord parked onstage; soon, the talented Knut Johannessen seated himself at the keyboard; his elegant truly playing enhanced the classic works on tonight's program.

Ms. Mutter, is a striking raspberry-red gown, was greeted enthusiastically by the vast audience as she led her troupe of players onto the stage. Antonio Vivaldi's Concerto in-B Minor for Four Violins, Strings, and Continuo, RV 580, was the brilliant opener. Hearing this music, played to perfection, we forgot about how cold we were and surrendered to the soul-warming magic of music.

The players of Mutter Virtuosi (above, in a Jemmifer Taylor photo) are an attractive and youthful lot, and their playing is superb. Three violinists joined Ms. Mutter for the principal quartet parts in the opening work: Mikhail Ovrutsky, Samuel Nebyu, and Ryan Meehan. Throughout this demanding piece, virtuoso passages are passed about amongst the foursome. Lightning speed and fluent dynamics are called for, including phrases of incredible delicacy. 

The second movement commences as a Largo, but soon turns into a sprightly Larghetto; towards the end, the music slows again for a cadenza in the highest violin range. For the final Allegro, Ms. Mutter sets the pace - her playing in on fire - and her three colleagues revel in every note and phrase of the music. 

Above: composer Unsuk Chin

The New York premiere of Unsuk Chin's Gran Cadenza for Two Violins came next. Described by Ms. Mutter as a "space voyage", this remarkable duologue was a hit with the crowd, and (seemingly) with the players themselves.

Nancy Zhou, looking spiffy in a fitted-trouser outfit, played second fiddle (in name only) to Ms. Mutter. In this quirky music, the players converse, compete, and intertwine their timbres in passages that veer from jagged to a kind of other-worldly lyricism. The sound of the two violins playing phrases at super-pianissimo was so intriguing, and the music passed thru many mood swings along the way. The audience response was enthusiastic, the two women embracing and bowing to one another. I was hoping the composer might be present to share the excitement.

Above: Ms. Mutter and Ms. Zhou following the Chin work' photo by Jennifer Taylor

Above: the Chevalier de Saint-Georges

The stage was swiftly set for the return of the full ensemble for the Violin Concerto in A-Major, Op. 5, No. 2, by the French-Creole composer Joseph Bologne, the Chevalier de Saint-Georges, which was published around 1775.

This melodically rich work became the centerpiece of the evening; from is lovely - blissful, in fact - opening, the music seemed to hold the Hall under an enchantment. Here, before going any further, I must mention the ensemble's marvelous bass player, Dominik Wagner: a terrific musician.

The long Allegro moderato is a veritable goldmine of themes, with pacing varying from animated to leisurely, and with passages calling for exquisite finesse from the players. The music takes Ms. Mutter to the dizzying heights of her range, teasing the ear with her subtly charming playing.

The Chevalier's gift for elegant lyricism is abundant in the Largo, where gentle, rolling rhythms underscore a tranquil feeling. Ms. Mutter's radiant, ethereal playing here - laced with prolonged trills of exquisite clarity - was achingly beautiful to experience; the cadenza took her to the stratosphere, carrying our spirits aloft. Mesmerizing!

The finale is a Rondeau, with a lively start, sprinkled with touches of wit. Festoons of fiorature are dazzlingly dispensed by Ms. Mutter - and by her colleagues as well, for this is music in which every participant is a virtuoso. The explosive ovation that greeted the musicians at the end of the Chevalier's dazzling creation was the only possible reaction.

Above: Antonio Vivaldi

To close the evening, Vivaldi's thrice-familiar The Four Seasons made for a perfect finale. While everyone knows this music, it is actually not programmed very often at live concerts; in fact, I cannot recall a single incidence of being at a concert where the entire piece was performed. Tonight, the playing was sumptuous from first note to last. 

For me, the most memorable "season' tonight was "Summer"; here, Ms. Mutter engaged in a give-and-take with cellist Lionel Martin, whose passionate, committed playing was thrilling. 

The Vivaldi masterpiece was unfurled in all its glory tonight, the audience rising at the end to hail the great violinist and her delightful band of players. Ms. Mutter moved about the stage, embracing each of her colleagues.

As an encore, she offered a specially-arranged work by John Williams, played with simple, sheer beauty of tone. A reprise from The Four Seasons followed, and I felt certain there were more encores to come, but - the subways being so fraught with unpleasant possibilities these days - I needed to venture out into the frigid air and get myself home. 

Performance photos by Jennifer Taylor, courtesy of Carnegie Hall

~ Oberon

Pierre Boulez/NY Philharmonic ~ LA MER

Pierre Boulez conducts a performance of Claude Debussy's LA MER in a televised concert marking the orchestra's 150th birthday in 1992.

Watch and listen here.

Daniele Gatti ~ Brahms REQUIEM

Daniele Gatti conducts a performance the Brahms REQUIEM which took place in July 2015 at the Festival de Saint-Denis. The Orchestre National de France is featured, with soloists Annette Dasch and Peter Mattei.

Watch and listen here.

Sharon Sweet's Met Debut

Excerpts from Sharon Sweet's Met debut as Leonora in TROVATORE on April 27th, 1990.  I was there, but I didn't make this recording, which also features Franco Bonisolli (who was loudly booed at his curtain calls), Lajos Miller, and Loretta di Franco. Michelangelo Veltri was on the podium. 

Sharon Sweet - Met debut 4~27~90 -TROVATORE scenes w Bonisolli~Lajos Miller~L di Franco - Veltri cond