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Review: Gustavo Dudamel Saves the Day on the Philharmonic

Review: Gustavo Dudamel Saves the Day on the Philharmonic


The Philharmonic, which Dudamel will lead extra ceaselessly subsequent season earlier than formally enterprise his duties, is already exhibiting indicators of his affect. And he collaborated seamlessly with the night’s soloist, the violinist Hilary Hahn, the orchestra’s artist in residence.

A musician of poise and rounded tone, Hahn proved within the Ginastera that she will make absolutely anything sound lovely. In her interpretation, the piece shed its acrid angularity. She folded trills, stops and candy harmonics into unbroken traces, and when she harmonized with herself, she utilized the plushness and persistence acquainted from her Bach recordings.

The first motion’s six études had been a showcase for Hahn’s style, in addition to for her technical ability. She demonstrated ease in fistfuls of chords, silky thirds, gently seesawing arpeggios and glowing harmonics. Her Adagio was warmly spacious, and she or he dashed off the fiendish Perpetuum Mobile with a contact of rawness that gave the impression of an interpretive alternative reasonably than an impact of the breakneck velocity.

For his half, Dudamel summoned hectoring drama and elemental energy within the Ginastera, but in addition subtlety. The harmonics étude, which exploits the ethereality of celesta, harp and glockenspiel, had an eerie ambivalence that hovered between fairy magic and one thing extra sinister. The research of quarter tones occupied a haunting, liminal state.

The composure that made Hahn’s Ginastera an interesting train find magnificence in unlikely locations shortchanged the aptitude of Sarasate’s “Carmen” Fantasy, through which gildings on the sultry melodies of Bizet’s beloved opera invite showmanship. More rhythmic alacrity would have propelled traces ahead. In melodic passages just like the Habanera, Hahn turned a little bit singsongy, however the “Tra la la” part, with its languorous flirtations, suited the best way she sits again and luxuriates in her sound. Her encore, the Loure from Bach’s Partita No. 3, likewise had a beautiful, long-limbed high quality.

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