Severance
Hall
February
9
Italian by birth, with a flair for the Russian repertoire. |
Like
everybody else, conductors run hot and cold. Making his debut with
the Cleveland Orchestra on Saturday night, Gianandrea Noseda showed
how to put those contrasting approaches to very good use in a
colorful program of Rachmaninoff, Rota and Prokofiev.
Noseda, 48,
has one of the more impressive resumes among visiting maestros this
season. Born in Milan, he is currently music director of the Teatro
Regio opera house in Turin and holds guest conductor posts with the
Israel Philharmonic and Pittsburgh Symphony. He is a veteran of the
Metropolitan Opera and the Mariinsky Theatre in St. Petersburg, with
a discography of more than 35 recordings ranging from Beethoven to
Bartók. To judge from his
performance on Saturday, the Italian repertoire is in his blood and
the Russian repertoire an acquired passion, deeply felt on both
intellectual and emotional levels.
Which
made the opening piece a perfect choice: Rachmaninoff’s The Isle
of the Dead, a seldom-heard symphonic poem that Noseda is also
performing with the Los Angeles Philharmonic (earlier this month) and
Filarmonica della Scala (in Milan next month). A florid, tumultuous
work inspired by Arnold Böcklin’s
eponymous painting, the piece is a vividly descriptive narrative of a
visit to the island that incorporates the Dies Irae chant from
the Catholic funeral Mass.
Noseda
did more than bring the piece to life. He set it on fire, starting
softly and building with convincing authority to great heaving swells
of emotion, music to make the blood race and the heart pound. The
danger in this interpretation lies in being overly melodramatic, and
certainly there were passages in that vein. But then, one could say
that about a lot of the Russian repertoire. And Noseda has a fine
sensitivity for the conflicting elements in the score – shimmering
strings on top, dark undercurrents in the cellos and bass running
underneath. There were moments when the divergent high and low ends
of the sound seemed almost to be at war with each other, creating an
unsettling but brilliant tension. It was a powerful, memorable
reading, particularly for a non-piano Rachmaninoff piece.
There
are not many concertos written for trombone, which was probably
reason enough to put one by Nino Rota on the program. Best-known as a
film composer – he wrote the signature music for Francis Ford
Coppola’s Godfather series, and many Fellini films – Rota
gets regular play in Europe, but not much here; this was the first
time the Cleveland Orchestra performed his 1966 Trombone Concerto.
The music is not terribly complex, especially sandwiched between two
towering Russian works. The soloist, however, was first-rate. Massimo
La Rosa, the orchestra’s regular principal trombonist, showed
impressive command of his instrument in fashioning clear, beautifully
rounded tones. And Noseda showed his opera background with lively
orchestral accompaniment that buoyed but never drowned out the
soloist, a difficult balance to strike in any circumstance.
Given
his overheated treatment of Rachmaninoff, one might have expected
Noseda to take the same approach in the concluding piece, Prokofiev’s
Symphony No. 6. But he did exactly the opposite, giving it a
cool, cerebral burnish that reinforced the principal theme of the
work – a celebration of the end of the World War II tempered by a
profound realization of the bloody price of victory. Even the echoes
of battle horns and clashing armies were kept in controlled
restraint, with the percussion as sharp as gunshots and the passages
of loss and regret never becoming maudlin. The clarity of the piano
lines offered another reminder of Noseda’s fine sense of balance,
and his deft handling of the fast-paced third movement was dazzling,
featuring virtuoso work from the violins.
Noseda
is a generous conductor, acknowledging the orchestra before he takes
his own bows. In fact, after ending the Prokofiev symphony with an
electric crackle, he made almost every player stand for extra
applause – not just the percussionists, as is typical with
Prokofiev or Shostakovich. The accolades were well-deserved. But
Noseda was the star of the performance, with his masterful command of
the material, thoughtful and versatile approaches, and ability to
turn what could have been a pro forma program into something
special.
For
more on Gianandrea Noseda: www.gianandreanoseda.com
For
more on Nino Rota’s film scores:
http://www.imdb.com/name/nm0000065/
Noseda photo by Ramella & Giannese
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