Severance
Hall
March
21
An experienced hand with the 20th-century repertoire. |
Ordinarily,
seeing a replacement for Pierre Boulez on the podium at Severance
would make for a disappointing evening. But it took Alan Gilbert all
of two minutes to dispel any regrets about missing Boulez and claim
his appearances with the Cleveland Orchestra this past weekend as
uniquely, and delightfully, his own.
It’s
tempting to attribute Gilbert’s stellar showing to his familiarity
with the orchestra; he spent three seasons in Cleveland (1994-97) as
a conducting assistant and then assistant conductor. But that was a
long time ago, especially when measured by the accomplishments and
accolades Gilbert has garnered since. His appointment to Music
Director of the New York Philharmonic followed eight years with the
Royal Stockholm Philharmonic and numerous performances through the
U.S. and Europe, where he is currently Principal Guest Conductor of
the NDR Symphony Orchestra in Hamburg. Somehow he also finds time to
oversee the conducting and orchestral studies program at Juilliard.
Still,
no one could come in and create the exquisite sound Gilbert drew out
of the orchestra without knowing its capabilities and strengths. The
46-year old maestro is also a devotee of 20th-century music, a
considerable advantage when one is conducting a program of Ravel and
Mahler. The program was an ideal match for Gilbert’s skills and
tastes, and his fluency in interpreting it was like watching an
expert driver put a Ferrari through its paces.
The
first and most striking quality of Ravel’s Ma mère
l’oye (Mother Goose)
was its fine balance. Gilbert had fingertip control of the sound,
elucidating a single harp or entire string section with equal
precision and clarity, never losing a note in building textures or
making transitions. Not many conductors can attain that level of
transparency, especially in such a complicated piece.
In
Gilbert’s hands the melodies were light, almost floating from the
stage, buoyed by sweet violins and shimmering cellos. Their lyrical
quality was enchanting, like fairy tales are supposed to be. But
Gilbert’s real genius was in the details – the prick of Sleeping
Beauty’s spinning wheel, the Beast’s glissando transformation
into a handsome prince, the sudden explosion of birds taking flight
in “Tom Thumb.” Vividly portrayed and carefully nuanced, the
effects fit neatly into the overall flow of the piece, lending it a
three-dimensional quality and highlighting its brilliant musicality.
Gilbert spun up the ending into a wisp of final notes that hung in
the air like fading fireworks.
Mahler’s
Symphony No. 7 is a sprawling work that is difficult to know
how to take at times. Is the composer being ironic, humorous, bold
or just his usual inscrutable self? The answer is all of the above,
making the conductor’s most difficult task simply pulling everything
together. Gilbert delivered a version of unusual integrity, with a
solid organic center and polished New World gloss.
He
opened the piece in large dimensions, though quickly established that
Mahler’s big statements need not be overwhelming. The heaving
sections of the extended first movement were crisp and commanding,
powerful without becoming unwieldy, giving way easily to brilliant
colors in the horns and woodwinds. Gilbert reveled in the
inventiveness of the second movement, using a light touch and careful
layering to build the sound, and paying attention to small details
like the cowbell. With the voices of the individual sections
well-established, he was able to put a satirical edge on the horns in
the third movement and squeeze some humor out of the guitar and
mandolin in the fourth. The relatively conventional final movement
roared off the stage in exuberant cascades, bursting with energy that
culminated in an explosive, sharply executed finish.
It’s
not often that one gets to hear the vocabulary of 20th-century music
so well-understood and eloquently expressed. And from a substitute
conductor, no less. We wish Pierre Boulez well, and hope to see him
next season. But Alan Gilbert is welcome back anytime.
For
more on Alan Gilbert: http://www.alangilbert.com/
Photo by Chris Lee
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