Blossom
Music Center
July
5
Enlightenment outdoors, with natural accompaniment. |
The
incomparable summer home of the Cleveland Orchestra adds its own
color to classical concerts. Birds chirping, children playing on the
hillside and tree frogs croaking in the deepening twilight can be
charming asides. But the opening concert of this year’s summer
season was so riveting that an earthquake could have shaken the
pavilion without causing a distraction.
Especially
with Shostakovich’s Symphony No. 8 on the bill, an
earthquake in itself.
The
evening opened with Richard Strauss’ Four Last Songs,
composed in 1948, a year before the composer’s death at the age of
85. Had Strauss written nothing in his life but those songs and his
Oboe Concerto (composed in 1945 and performed by the orchestra
at Severance last September), he would still have a place in music
history. They are brilliant distillations of both the period and the
waning years of an individual life.
Shy on the high end. |
Conductor
Franz Welser-Möst strode
on stage with a longtime colleague, Slovak soprano Luba Orgonášová.
A well-regarded lyric coloratura who has
worked throughout Europe with a succession of esteemed conductors,
Orgonášová is,
at 42, past her prime. In its best moments, her voice has a
crystalline beauty with a delicate, airy quality, seeming to float on
the melody. And her purity of tone is breathtaking. But in the
highest registers her voice simply disappears, fading into a refined
wisp swallowed by the orchestra.
Still,
with warm, sometimes glowing backing from Welser-Möst
and his players, the songs were captivating. In particular,
Orgonášová
gave the concluding Im Abendrot
(At Sunset) a haunting, elegiac feel. And Welser-Möst
could have put lions to sleep with his lush, tender treatment of Beim
Schlafengehen (At Bedtime).
Shostakovich
is always a wake-up call, and No. 8
is packed with his full inventory: elaborate orchestration, raging
passion, explosive percussion and the occasional playful moment
designed to keep everyone (especially Soviet censors) guessing about
his true intentions. The symphony makes serious demands on both the
musicians and audience – the first movement alone is nearly a
half-hour long – but Welser-Möst
and the orchestra have assayed it before, even performing the piece
on tour during the 2002-03 season.
A
more finely crafted version would be hard to find. With his signature
attention to detail, Welser-Möst
created a transparent sound featuring crisp strings, sharp
percussion, brilliant colors in the woodwinds and horns, and dramatic
swells of emotion. Tension simmered even in the quiet passages, and
the rhythms were propulsive, particularly in the animated third
movement. The overall effect was like a grand painting teeming with
masterly accents and flourishes, rendered in exceptional clarity.
It
was also remarkably polite, not a word often used to describe
Shostakovich’s music. More typically, it comes with rough edges
that sacrifice some detail but better convey the powerful emotional
impact of the score. This is a matter of taste, not a question of
interpretation. No. 8
is a sprawling work that can be presented from many different
viewpoints, and it certainly benefited from Welser-Möst’s
elegant treatment. But the performance lacked fire, which is a
defining element of Shostakovich’s symphonies.
It
also lacked a sizable audience, which is a shame. Perhaps
concert-goers had their fill of fireworks the previous night, or were
put off by the Strauss/Shostakovich program. Beethoven and Mozart
certainly go down easier. But these 20th-century masterpieces deserve
to be heard, and the orchestra deserves credit for opening its summer
season with a substantial and very satisfying program.
For
more on Blossom Music Center and the orchestra’s summer schedule:
http://www.clevelandorchestra.com/about/blossom-festival.aspx
Blossom photo by Roger Mastroianni
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