If, however, you desperately want this orchestra to flourish, but cling to a philosophy that it is a great ensemble deserving musical leadership of suave technique, an ear for sound cultivation, and strong personal interpretive statements, you probably left Verizon Hall feeling underwhelmed.
N�zet-S�guin quite often falls short of highly developed ideas. He likes to get through a lot of music quickly, which, in parts of the Requiem, meant leaving aside the possibility for close detailing. Sweep is important to him. Momentary gusts of emotion billow up.
He does like pretty textures, which was an aspect of the Debussy Nocturnes not to be undervalued. The third movement, "Sirens," wasn't a place for wallowing or mystery but, with 30 women from the Philadelphia Singers Chorale, it became fluid and alluring. Making the fanfares of "Festivals," the electric second movement, more legato than usual was a nice idea, but it muddled the rhythms. Transitions between sections were sometimes bereft of clear direction, as if the conductor were already thinking about the music ahead before the current phrase had played out its string.
Mozart's Requiem (finished by S�ssmayr and presented here in the Franz Beyer edition of the 1970s) is perhaps the most breathlessly myth-gathering piece in the standard repertoire, yet it hasn't made a Philadelphia Orchestra appearance in two decades (other local groups have done it frequently). The last performances, led by Riccardo Muti in 1991, featured Arleen Auger, Susanne Mentzer, Jozef Kundlak, and Simon Estes.
Legal | Politics | Sports | Teens | Webmasters
harmon kardon bridge harmon kardon car audio harmon kardon cd recorder harmon kardon citation harmon kardon computer speaker
Keine Kommentare:
Kommentar veröffentlichen