Blossom
Music Center
August
3
Bringing fresh energy to a well-worn classic. |
Summer
is traditionally the time for lightweight programs and performers.
It’s also the preferred time to roll out old chestnuts like
Tchaikovsky’s Violin Concerto in D major, a seminal work
that has suffered from overexposure. It takes a world-class artist to
pump new life into the piece, and offer a reminder of why it has
become one of the world’s most popular concertos.
Gil
Shaham did that and more in his appearance with the Cleveland
Orchestra on Saturday night. A virtuoso player who well deserves the
1699 Stradivarius tucked under his chin, Shaham is the rare violinist
who combines impeccable technique with fluent expression. He can step
up to the challenge of high-volume major works like the Tchaikovsky
concerto without missing a note, or drop back to understated chamber
music recitals and personal projects like Nigunum, a
collection of Hebrew folk melodies recently recorded with his sister,
pianist Orli Shaham. It all sounds equally alive and accomplished.
With
visiting Ukrainian conductor Kirill Karabits at the podium, Shaham
strode onto the Blossom stage dapper and smiling as usual, and set a
lively pace from the opening notes of the concerto. Along with a
zesty brio, he played with crystal clarity and seamless elegance,
making the complicated filigrees and daunting cadenzas look easy. And
his control was breathtaking, particularly in the fine lines of the
second movement, which he evoked with the grace and delicacy of
raindrops on a pond.
Ultimately,
what marks the very best players is their mastery of the music. It’s
one thing to play a piece. It’s quite another to own it in the way
that Shaham did, showing a deep understanding of the score by adding
grace notes and other flourishes that put a personal stamp on it
without obscuring any of Tchaikovsky’s original intent. Most
violinists do well just to keep up with the impossible demands of
the part; Shaham nurtures it, finding gentle nuances in the tender
melodic passages and blazing through the complex runs.
Shaham
also has a fine sense of how to present a piece, down to small
details like angling his violin to achieve the right sonic effect. He
prowled the stage like a jazz player, working off different sections
of the orchestra and standing tall for solos next to the podium,
where he could stay locked in with the conductor. His enthusiasm was
evident in playful body English and dance steps – at one point, he
literally pounced on a new phrase.
With
a slice of Bach’s Partita No. 3 for an encore, Shaham capped
the single best performance this critic has seen at Blossom this year.
No one else has come close to matching his technical brilliance,
rapport with the orchestra and generosity of spirit. It was an
exhilarating experience, and a reminder of how even a well-worn piece
can sound fresh in the right hands.
Karabits
provided a smart orchestral backdrop for Shaham, modulating the sound
and drawing sonorities out of the horns and woodwinds that contrasted
nicely with the violin. On the other pieces, however, he did not fare
as well.
The
opening work, Glinka’s energetic Overture to Rusian and Ludmila,
had plenty of pep and good-natured gusto. But the sound was
one-dimensional, thick in the middle and lacking definition on the
high and low ends. The closing Symphony No. 5 by Prokofiev had
some of the same problems, which was unfortunate. A work of dazzling
depth and dimension, it came out like sausage, all bunched together
in a long, linear stream.
Generally
speaking, the fewer instruments playing, the better the music
sounded. Karabits got some crisp work out of the percussion section
and big sounds from the horns, but overall the symphony never caught
fire, only occasionally revealing its full color and depth.
Prokofiev
should be in Karabits’ wheelhouse, so the poor showing was a
disappointment. The conductor’s intelligence and ability are clear.
But if this appearance was an accurate indication, he’s not quite
ready to lead a world-class orchestra.
For
more on Kirill Karabits: http://kirillkarabits.com/welcome.html
For
more on Gil Shaham: http://www.gilshaham.com/
And
Shaham’s label, Canary Classics: http://www.canaryclassics.com/
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