Gustavo Dudamel has begun his story of two cities.
As Dickens prophetically reminds us, ours is hardly the primary age of knowledge and of foolishness, the primary epoch of perception and of incredulity. Dudamel’s nice problem is to make his seventeenth and last season as music director of the Los Angeles Philharmonic — and his prelude season earlier than taking on the New York Philharmonic (in September he formally turned designate music and creative director) — the most effective of musical occasions for each cities.
The opening live shows for the 2 orchestras have been two weeks aside, the Large Apple having come first. The principle works on the New York-centric program have been by two nice twentieth century composers, Bartók and Charles Ives, who have been handled as outsiders by town’s musical institutions throughout their lifetimes.
The performances have been spectacular. An orchestra that has a status for being tough was responsive. If I learn the room proper, there was a real, if considerably guarded, sense of optimism from a welcoming crowd.
Following a convention he began together with his first season in L.A., Dudamel opened with a newly commissioned work, Leilehua Lanzilotti’s “of sunshine and stone.” He struck prompt sonic gold with this mystical evocation of Hawaii, wondrous in sound, Lanzilotti, a hopeful good begin.
Dudamel has a unique look as of late when he walks out on stage for an L.A. Phil live performance after he’s been away for some time. Thursday evening at Walt Disney Live performance Corridor, he once more appeared ever so barely hesitant, as if not realizing what to anticipate now that his leaving has change into manifest. However greeted by a full home’s demonstratively embracing grateful enthusiasm, he beamed, the hesitant posture turning into possession.
The conductor opened his farewell season with Ellen Reid’s “Earth Between Oceans,” a joint fee bridging his two orchestral households.
(Timothy Norris / Los Angeles Philharmonic)
The brand new work this yr is Ellen Reid’s “Earth Between Oceans,” and it’s Dudamel’s first effort at bringing collectively what he calls his two households.
Reid, who’s herself bicoastal between L.A. and New York, narrates, by astonishing orchestral properties and powers, an environmental story of her two cities. The work is a joint fee with the New York Philharmonic; Dudamel will take it east within the spring.
Earth, air, water and fireplace are Reid’s topic issues, which she interprets into 4 actions that cowl a New York winter, an aerial strategy to Manhattan’s noise and quiet, the Altadena and Pacific Palisades conflagrations, ending on a type of surfboard trip over crashing blue waves. With the assistance of a wordless Los Angeles Grasp Chorale, Reid tells the story by ever-surprising instrumental evocation.
Nothing, nevertheless, sounds such as you would possibly anticipate in Reid’s large orchestral soundscape able to holding a listener in tight grip for half-hour. Is that percussive pounding in earth the bottom transferring below our ft and the cello solo snowy Central Park? I don’t understand how she does it, however I instantly purchased into bizarre sounds from the refrain indicating one thing phrases can’t categorical about what these New York skyscrapers are as much as. The impact of what appeared like ticking clocks going astray felt like an inviting dip within the lake.
Dudamel ended the live performance with Richard Strauss’ “Alpine Symphony,” 125 orchestral musicians schlepping up the mountain, discovering non secular ecstasy on the summit and getting drenched on the best way down, a self-satisfied ingesting in of nature with each step. It’s an astonishing, so to talk, over-the-top rating, which you both love or abhor for its instrumental vulgarity.
Love was so as Thursday. Dudamel first carried out “Alpine Symphony” at Disney in 2008, a yr earlier than starting as music director. He jogged up the mountain and again, stuffed with beans, displaying off but in addition sharing his enthusiasm and demonstrating a ability that gave confidence that this 20-something conductor had the chops.
Dudamel’s efficiency of Strauss’ “Alpine Symphony” demonstrated the L.A. Phil’s distinctive immediacy in contrast together with his extra formal European interpretations.
(Timothy Norris / Los Angeles Philharmonic)
Final summer time, I heard Dudamel conduct the “Alpine” with the Vienna Philharmonic on the Salzburg Competition. The enjoying was luxurious however formal and distant. These have been the Alps as seen from a cushty gondola taking within the view, and what a view, certainly.
The L.A. Phil sound, however, reveled in being-there, huffing-and-puffing immediacy. A rainstorm was a rainstorm: moist. The pastures replete with cowbells weren’t a lot scenic as earthy, the actual factor.
The orchestra sounded rapt and prepared for ecstasy Thursday. There are two new first-chair gamers. A member of the orchestra’s second violin part, Melody Ye Yuan, has change into her part’s principal. Ryan Roberts is the brand new principal oboe, and he had a luminous solo within the “Alpine.”
It was solely after Roberts, who grew up in Santa Monica, gained the L.A. Phil blind audition for principal oboe that Dudamel found he had simply employed away a rising star in what’s about to change into his New York Philharmonic. However it’s all within the large new household.
