Severance
Hall
April
19
A great fit with the hometown band. |
Herbert
Blomstedt is a master technician, a well-traveled conductor who
brings great experience and intelligence to his work. At 86, he
specializes in spirited treatments of familiar warhorses, giving them
new life and flair. He did that with mixed results at Severance on
Saturday night, crafting a lush, radiant version of Tchaikovsky’s
Symphony No. 6 and a smart treatment of Dvořák’s
Cello Concerto in B minor that was marred by technical problems.
The
Dvořák concerto featured
soloist Mark Kosower, the Cleveland Orchestra’s principal cellist.
A technically dazzling player, Kosower gave the piece a cool reading,
precise and restrained, a note-perfect performance that seemed
bloodless at times. Even the deep, gut-wrenching reaches of the
second movement sounded comparatively tame. The part calls for
considerable skill, but in Kosower’s hands it was almost entirely
an intellectual exercise, with little emotional content.
At
least that the audience could hear. Kosower was drowned out at
regular intervals by the orchestra, a surprising lack of balance –
especially considering the fine subtleties and shading that Blomstedt
created within the orchestra. His approach to the concerto was
bracing, with horns that usually take a backseat putting bright
colors in the sound and a charge in the music. Careful layering, rich
textures and vivid woodwinds provided fine details in an
authoritative interpretation that was a model of craftsmanship.
Except
when it stepped on the cello lines. One could argue whether this was
the conductor or the soloist’s fault; a more impassioned player
might have risen above the orchestra. But Kosower already seemed to
be sacrificing expression for volume. And normally the balance is
worked out in rehearsal. Still, both Blomstedt and Kosower were on
point for a thrilling finish, which brought the audience to its feet
with a big hometown cheer for the cellist.
Tchaikovsky’s
“Pathétique” symphony
was a study in how to freshen a well-known work. Blomstedt knows it
so well that he didn’t even need a score to conduct. After a quiet,
deliberate opening, he quickly stepped up the pace and tone, imbuing
the melodies with a warm, emotional sweep and opening up the march
section to epic dimensions.
The
grandeur of Tchaikovsky’s work can turn plodding in less
experienced hands, but Blomstedt kept the pacing nimble and the sound
flowing, unabashedly romantic in the melodies of the second movement
and bold in the big dynamics of the third. The latter unfolded like a
succession of crashing waves, propelling the listener to a pounding
conclusion. And Blomstedt’s control in the muted finale was superb.
The
players stayed in their seats during one of the curtain calls to
applaud the conductor, who seemed to share their affection and
admiration. It was a rewarding moment for the audience as well, an
acknowledgment of the great music that world-class professionals can
create together.
For
more on Herbert Blomstedt:
http://www.bach-cantatas.com/Bio/Blomstedt-Herbert.htm
For
more on Mark Kosower:
http://www.colbertartists.com/ArtistBio.asp?ID=mark-kosower