On Opera: Director Barrie Kosky in Conversation with LA Opera’s Christopher Koelsch

October 19, 2014

 By Jane Rosenberg

Ebullient, outspoken, and intelligent, Barrie Kosky, artistic director of the Komische Oper Berlin, and stage director of LA Opera’s upcoming production of the double bill Dido and Aeneas/Bluebeard’s Castle presented his concept of this unusual opera pairing during a conversation with opera president, Christopher Koelsch at the Dorothy Chandler Pavilion on Thursday. (This is the first in a series of live streaming conversations on the LA Opera’s website – a welcome addition to the Opera’s continuing efforts to offer insights into their productions as they do with their regular pre-performance talks).

Barrie Kosky

Barrie Kosky

If you were lucky enough to see the LA Opera’s production of The Magic Flute in November of last year, then you may know that Kosky, along with his collaborators Suzanne Andrade and Paul Barritt, were the team responsible for this clever and visually arresting re-imagining of The Magic Flute. If Kosky brings the same level of ingenuity to Dido and Aeneas/Bluebeard’s Castle then the audience is in for a remarkable evening.

Conductor Constantinos Carydis conceived of the unconventional pairing of the two operas and though Kosky acknowledged that the operas, written more than two hundred years apart, are from two entirely different sound worlds, there are narrative parallels and psychological truths common to them both. Both deal with obsessive love, loneliness, loss, and on a spiritual and intellectual level: the theme of arrival and departure. Aeneas arrives in Carthage, gains Dido’s love, only to leave again, unknowingly destroying the woman he loves and the empire she rules. Judith arrives at Bluebeard’s Castle, only to find herself trapped in a nightmare world of secrets and unable to leave.

Favoring Minimalist stagings to allow the emotional power of the music and the performances to provide maximum heft, Kosky, in one of his many moments of humor, called himself an “Opulent Minimalist.” Certainly, his production of The Magic Flute gave the audience a very crowded visual field, however, the structures supporting the video projections were simple. For him, and certainly visual artists would agree, Minimalism entails distilling things to their essence.

The essence of Bluebeard, in Kosky’s staging, is not about the architecture of the doors and walls in Bluebeard’s castle; but about the primacy of the performer and the human voice. In the narrative, Judith’s curiosity compels her to open door after door, looking for a way to let light into the enchanted, dark world of the castle. In this new production, set on a slowly revolving white circle, the doors and walls are replaced by bodies harboring those secrets, in a very clever and compelling piece of staging. Emotions are raw and exposed – a veritable Who’s Afraid of Virginia Woolf in Hungarian – as Kosky explained to his amused audience.

Robert Hayward as Bluebeard and Claudia Mahnke as Judith in a scene from "Bluebeard's Castle," presented in 2010 at the Frankfurt Opera

Robert Hayward as Bluebeard and Claudia Mahnke as Judith in a scene from “Bluebeard’s Castle,” presented in 2010 at the Frankfurt Opera

For Dido and Aeneas, fragility seems to be the essence of the unfolding tragedy for Kosky: the fragility of Purcell’s score, the fragility of life, and the condition that Dido finds herself in – trapped between the needs of her court and her love for Aeneas. Kosky jokingly urged everyone to bring a box of tissues to cope with the raw power and emotional catharsis of Dido’s final aria and ensuing death.

It is this raw power that interests the director who asserted that opera as an art form should take the audience out of its emotional comfort zone. Opera “fundamentalists,” as he called those who insist on productions that hark back to their originals, miss the point. Opera isn’t a fixed form, with only one viable approach, but rather, like all theatre, an interpretive art form always open to investigation.

As for his working methods, he said: it all starts with choosing the right piece of musical theatre, then “riding the surfboard on the wave” of the music. After assembling a first rate cast, anything becomes possible, because he trusts great performers to draw out character and present human truths. A director, with a musical education, Kosky first plays through the score on the piano to digest the music, then listens to as many CDs as he can. Ideas emerge from the process. The rehearsal period is a long one as he and the conductor grapple with how sound should convey the meaning of the words of the libretto. One of the joys of his profession, he said, is directing the chorus. Rather than leaving them as a static entity, he prefers to move them into the action to create a deeper level of performance.

And how do you see the future of opera? Christopher Koelsch asked Kosky in conclusion. The director felt that every hurdle faced by an opera house was unique to each house and its city. But the fundamental issue was accessibility. It’s all about the ticket prices, he explained. Because opera is subsidized in Germany, the lowest ticket price at the Komische Oper is eight Euros. Subsidies allow Kosky to reach a broad audience and at the same time maximize the productions with full orchestra, full chorus, and top performers. In his view, opera is here to stay. It is the only theatrical form that links us to the ancient Greeks – to Euripides, Aeschylus, and Sophocles; and because of that, we are linked to something primal… and one hopes, eternal.

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Photos courtesy of LA Opera.


Picks of the Week: October 15 – 19 in Los Angeles, New York City and London

October 15, 2014

By Don Heckman

Los Angeles

Dee Dee Bridgewater

Dee Dee Bridgewater

- Oct. 16 – 18. (Thurs. – Sat.) Dee Dee Bridgewater. She’s a Grammy and Tony award winner, an actress, a radio star and a U.N. Ambassador. As if all that wasn’t enough, she’s also a dynamic jazz artist, a singer with a unique style and a creative imagination. She doesn’t make a lot of L.A. Club performances, so don’t miss this one. Catalina Bar & Grill.  (223) 466-2210.

- Oct. 16. (Thurs.) Gregg Arthur. Add Australian singer Arthur to the growing list of male vocal artists finding inspiration in the Sinatra style and the Great American Songbook repertoire. And he does it with authority. Vibrato Grill Jazz…etc.  (310) 474-9400.

Billy Childs

Billy Childs

- Oct. 17. (Fri.) Billy Childs. Map to the Treasure: Reimagining Laura Nyro. Pianist/composer Billy Childs showcases a live performance of his new recording, finding new creative aspects in the music of singer/songwriter Laura Nyro. He’s aided by the vocals of Becca Stevens, Moira Smiley and Lisa Fischer. Segerstrom Center.  (714) 556-2787.

- Oct. 17. (Fri.) The Los Angeles Philharmonic. Prokofiev and Dvorak. In an evening of extraordinary international taent, Basque conductor Juanjo Mena leads the L.A. Phil in performances of the Dvorak Symphony No. 7 and the Prokofiev Piano Concerto No. 3, with Uzbekistani pianist Behzod Abduraimov. Disney Hall. (323) 850-2000.

- Oct. 18. (Sat.) Laura Pausini. Consider it good timing for Italian singer Pausini to make a Southland appearance in the week of Christopher Columbus celebrations. A major Italian star, she should be heard by American listeners, as well. The Greek Theatre. (323) 665-5857.

Jane Monheit

Jane Monheit

- Oct. 19. (Sun.) Jane Monheit.   “Hello Bluebird: Celebrating the Jazz of Judy Garland.”  Monheit applies her rich vocal timbres and and brisk rhythms to a fascinating view of the Garland’s jazz roots.  Saban Theatre. (888) 645-5006.

- Oct. 19. (Sun.) The Buddy Rich Band. It may no longer be led by the charismatic drumming of the late Rich, but his band still retains the character and the spirit of the original. Catalina Bar & Grill. (223) 466-2210.

- Oct. 19. (Sun.) The Los Angeles Chamber Orchestra. Mozart Serenade. Douglas Boyd conducts Mozart’s Serenade in D Major and George Benjamin’s First Light, and cellist Steven Isserlis is the soloist for Haydn’s Cello Concerto No. 2 in D Major. A CAP UCLA event at Royce Hall.  310-825-2101.

 

* * *  L.A.’s HIGHLIGHT OF THE WEEK   * * *

TEKA and her NEW BOSSA QUARTET

Oct. 19. (Sun.)

Vibrato Grill Jazz…etc. (310) 474-9400.

 Brazilian singer/guitarist Teka and her New Bossa Quartet perform music rich with free flying jazz, the irresistible rhythms and melodies of Brazil, and the lyrical pleasures of the Great American Songbook.

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New York City

- Oct. 14 – 18. (Tues. – Sat.) Benny Green Trio. The virtuosic Green is one of the few pianists influenced by Oscar Peterson who does so with convincing improvisational authority. Birdland.  (212) 581-3080.

- Oct. 16 – 19. (Thurs. – Sun.) Cassandra Wilson. A jazz singer who is one of the few uniquely original performers in the field of jazz vocalists. Blessed with a voice rich with warm, expressive timbres, she uses it at the service of a compelling creative imagination. The Blue Note.

London

- Oct. 15 & 16. (Wed. & Thurs.) Al Di Meola plays Beatles and More. Always in pursuit of new expressive arenas for his superb guitar playing, Di Meola applies his remarkable skills to the classics of the Beatles songbook. And more. Ronnie Scott’s.  +44 20 7439 0747.


Live Music: Members of the Los Angeles Chamber Orchestra in a France a la Carte Performance

October 10, 2014

By Don Heckman

Beverly Hills, CA. The Los Angeles Chamber Orchestra’s A La Carte performances, which take place in private international residences throughout Los Angeles, are among the Southland’s most appealing musical events. Each features a chamber music performance by distinguished members of LACO, along with gourmet dinners and prime beverages celebrating the cuisine of the host country.

On Thursday night LACO’s A La Carte France event took place in the Beverly Hills home of the Honorable Axel Cruau, the Consul General of France in Los Angeles, and Mrs. Dourene Cruau. The program, appropriately, featured French music. But what made the program especially intriguing was the focus on Baroque music by French composers Jean-Philippe Rameau, Francois Couperin, Jean-Baptiste Anet and Michel Blavet.

The France A La Carte Trio

The France A La Carte Trio

The performance took place in an intimate drawing room opening on to the lush greenery at the rear of the house that would soon be filled with white tables for the after-concert feasting.

Josefina Vergara

Josefina Vergara

The artists – violinist Josefina Vergara, who also led the ensemble, flutist David Shostac and harpsichordist Patricia Mabee – began the program with Couperin’s four movement Concerts Royaux No. 1. And two aspects became immediately clear: that the trio would perform with warmly empathic musical interaction; and that the French Baroque catalog of music is as unique and engaging as the more familiar German style.

David Shostac

David Shostac

Before the next pieces were played, Vergara offered an explanation of the use of ornamentation – the application of decorative notes, often complex, usually improvised, added to a written melody. Each of the players offered a passage without ornamentation followed by the same passage with varying degrees of ornamentation.

The brief seminar, with its description and demonstration of ornamentation, created a more informed, more responsive audience. And the trio responded with a pair of pieces: Anet’s Sonata For Violin and Harpsichord and Blavet’s Sonata in B minor for Flute and Harpsichord. Each was performed with articulate enthusiasm, with some of the ornamented passages drawing bits of applause and glances of approval.

Patricia Mabee

At the heart of the music, harpsichordist Mabee brought a convincing sense of authenticity to her final feature work, Rameau’s enigmatic Pieces de clavecin en concert (La Marais, La La Popliniere, La Timide, Tambourin). Great demands are placed upon the keyboard instruments in most Baroque music. And Mabee delivered on all counts, romping through the improvised figured bass passages, playing with vigor that brought each piece vividly to life..

All in all, it was another successful A La Carte event, and like others I’ve heard in recent years, it was one to remember. If you haven’t yet experienced any of LACO’s A La Cartes, there are two remaining performances on the 2014 schedule: Germany is featured on Oct. 25 with a complete performance of Richard Strauss’ Metamorphosen; Austria is featured on Nov. 7 with the music of Mozart, Toch, Eisler and Haydn.

Don’t miss these last two opportunities. In addition to the pleasures of the performances, proceeds from the A La Carte events support the artistic and education programming of the Los Angeles Chamber Orchestra.  Click HERE for more information about LACO’s A La Carte.


Live Music: The Los Angeles Chamber Orchestra at Royce Hall

September 23, 2014

By Don Heckman

Los Angeles CA. The Los Angeles Chamber Orchestra can always be counted on to deliver an evening of rich musicality. And Sunday night’s performance at Royce Hall in Westwood was no exception.

The headline event in a rich program was Beethoven’s Symphony No. 5. But, typically, LACO Music Director Jeffrey Kahane also scheduled a pair of intriguing works – Saint-Saens’ Piano Concerto No. 5, with soloist Juho Pohjonen and Lines of the Southern Cross, the latter the premiere of a work newly commissioned by the LACO from Australian composer Cameron Patrick.

The Los Angeles Chamber Orchestra

The Los Angeles Chamber Orchestra

The evening opened with the new Patrick composition. Introducing the work, Kahane noted that the music “acknowledged the traditional owners of Australia and custodians of the land, the Australian Aboriginal people.” Patrick did all that and more, in a work that also captured the broad, far ranging landscape of Australia, from its mountain peaks to its ocean depths via some especially expressive writing for the strings. And the LACO interpretation of Southern Cross convincingly introduced it as a significant new work that deserves wide hearing – in live performance and on recordings.

The Saint-Saens Piano Concerto, sometimes called The Egyptian, was described by the composer as the representation of a sea voyage. And there are passages in the piece that do so, in characteristically French impressionist style. The work is also a virtuosic showcase for the piano soloist, and Pohjonen was effective on all counts, from the lyric passages to the most technically demanding passages.

Ludwig Van Beethoven

Ludwig Van Beethoven

The climax of the evening, understandably, was the Beethoven Symphony No. 5, one of the most frequently performed pieces in the entire catalog of classical music. And any well-interpreted performance of the work resonates with its long history. Written in the first decade of the 19th century, it was created at a time of considerable unrest for the Western world and for its composer. Europe was in the midst of the Napoleonic wars. And Beethoven, in his mid-thirties, was becoming aware of the fact that the deafness he had begun to experience was progressive, and would continue to worsen.

Since then, No. 5 has also been heard, and viewed, from a variety of symbolic interpretive perspectives, starting with the V for Victory aspects of its four note, opening motif.

Jeffrey Kahane

Jeffrey Kahane

But ultimately it is the gripping quality of the music itself that makes No. 5 a work to be heard in every possible opportunity. In the capable direction of Kahane and the equally capable playing of the LACO’s masterful musicians, the music came to life in especially persuasive fashion. Perhaps best of all, the musically symbiotic togetherness of the LACO’s players, combined with Kahane’s seeming desire to open the way for the music to find its way produced a stunning performance, overflowing with passionate intensity.

Altogether, it was another significant entry in the Los Angeles Chamber Orchestra’s long lexicon of memorable performances.


Picks of the Week: September 9 – 14 in Los Angeles, San Francisco, Chicago, New York, London, Copenhagen, Milan and Tokyo

September 9, 2014

 

By Don Heckman

Los Angeles

- Sept. 11. (Thurs.) The Los Angeles Philharmonic and the Los Angeles Master Chorale, conducted by Juanjo Mena finish the summer’s classical season at the Hollywood Bowl with a grand performance of Beethoven’s Symphony No. 9, and Leonard Bernstein’s Symphonic Dances from West Side Story. Hollywood Bowl. (323) 850-2000.

- Sept. 11. (Thurs.) The Fazioli Piano Series. Pianist Eric Huebner plays works by by Luciano Berio, Paolo Cavallone, Nathan Heidelberger, Roger Reynolds, Salvatore Sciarrino, and Eric Wubbels on the much honored (with good reason) Fazioli piano. The Italian Cultural Institute of Los Angeles. (310) 443-3250.

Barbara Morrison (Photo by Bonnie Perkinson)

- Sept. 12 & 13 (Fri. – Sun.) Barbara Morrison 65th birthday and CD release celebration. It’s a memorable weekend for one of Los Angeles’ greatest jazz treasures. She should be heard at every opportunity. Catalina Bar & Grill.  (223) 466-2210.

- Sept. 12. (Fri.) Don Rader Quartet. Trumpeter Rader has been a first call Southland artist for decades, performing every imaginable kind of music with ease and musicality. Here he’s in the spotlight, displaying his versatile musical wares. Vibrato Grill Jazz…etc.  (310) 474-9400.

- Sept. 12 & 13. (Fri. & Sat.) Mary Bogue. Cabaret artist Bogue, a unique stylist, has been described by Cabaret Scenes Magazine as “kind of throw-back to the red-hot mamas…electrifying, sassy, and sexy.” The Gardenia. (323) 467-7444.

Sept. 13. (Sat.) Charles Aznavour. The great French singer/songwriter makes a rare Southland appearance celebrating his 90th birthday.  The performance will be a banquet of classic songs, sung by one of the iconic figures in the history of international song.    The Greek Theatre(323) 665-5857.

San Francisco

Eliane Elias (Photo by Bonnie Perkinson)

- Sept. 11 – 14, (Thurs. – Sun.) Eliane Elias. The gifted Brazilian singer/pianist presents four fascinating evenings of music: Thurs: Celebrating Getz/Gilberto; Fri: Chet Baker Tribute; Sat: Night in Bahia; Sun: Bill Evans Salute. Don’t miss any of them. An SFJAZZ program at Miner Auditorium. r (866) 920-5299.

Chicago

- Sept. 11 – 14. (Thurs. – Sun.) Robert Glasper Trio. Comfortably positioned on the cutting edge of contemporary jazz, pianist Glasper and his players are offering fascinating new views of 21st century improvisational music. The Jazz Showcase. (312) 360-0234.

New York City

Dr, Lonnie Smith

Dr, Lonnie Smith

- Sept. 12 – 14. (Fri. – Sun.) Dr. Lonnie Smith.  Organ master Smith’s performances are unique explorations of an instrument with orchestral potential. “The organ is like the sunlight, rain and thunder,” says Smith. “It’s all the worldly sounds to me!” The Jazz Standard.  (212) 576-2232.

London

- Sept. 10 – 13 (Wed. – Sat.) “Brubecks Play Brubeck” featuring Darius, Chris and Dan Brubeck. The talented offpspring of Dave Brubeck display the remarkable genetic musical heritage they’ve received from their legendary father. Ronnie Scott’s.  +44 20 7439 0747.

Copenhagen

Sept, 13, (Sat.) Robert Lakatos. Hungarian jazz pianist Lakatos, one of Europe’s most highly praised jazz artists, is joined by Denmark’s Jesper Lundgaard, bass and Alex Riel, drums in a convincing display of the stunningly high level of jazz artistry on the continent. Jazzhus Montmartre.  +45 31 72 34 94.

Milan

The Bad Plus (Dave King, Ethan Iverson, Reid Anderson)

- Sept. 11. (Thurs,.) The Bad Plus. The creatively ambitious trio of pianist Ethan Iverson, bassist Reid Anderson, and drummer Dave King has been exploring new musical vistas since the 1990s, touching on everything from new views of the blues to their interpretation of Stravinsky’s The Rite of Spring. Blue Note Milano.  +39 02 6901 6888.

Tokyo

- Sept. 11 & 12. (Thurs. & Fri.) The Quartet Legend, featuring Kenny Barron, Ron Carter, Benny Golson and Lenny White. With a line-up of those names, this stellar group might more accurately be called “The Legendary Quartet.” Here’s a rare opportunity to hear them together. The Blue Note Tokyo. +81 3-5485-0088.

 


Live Music: The Pasadena Pops at the L.A. Arboretum in “Hooray For Hollywood”

August 18, 2014

By Don Heckman

Pasadena, CA.  The warm months of summer always bring a luscious banquet of musical events, much of it presented in colorful outdoor venues. One of the best has begun to emerge in the performances of the Pasadena Pops Orchestra under the baton of Michael Feinstein, amid the gorgeous greenery of the L.A. Arboretum.

And Saturday night’s performance, titled “Hooray For Hollywood,” was a perfect blend of all those elements, brought to their peak under the guidance of Feinstein, who matched his appealing singing and precise conducting with a scholarly knowledge of the rich and diversified music of Hollywood, past, present and future.

The Pasadena Pops at the L.A. Arboretum

The Pasadena Pops at the L.A. Arboretum

Add to that the line-up of appealing performers that Feinstein, with the aid and support of ASCAP (the American Society of Composers, Authors and Publishers) also added to evening in an obvious quest to create an immensely enjoyable performance. Among the headliners: Debby Boone, Maureen McGovern, Kevin Earley, Alan Bergman, Paul Williams and much more.

The far-ranging tone of the performance began early, with Feinstein’s whimsical reading of (appropriately) “Hooray For Hollywood,” supplemented with some humorous new lyrics as well as Feinstein’s ever amusing sidebar comments.

“I wanted to grow up to be like Alan Ladd, and I did,” he noted, with a smile. (Although he did not look in Paul Williams’ direction when he said it.)

Michael Feinstein conducts the Pasadena Pops

The heart of the show, and the highlight of the vocal performances were energized by tunes from what might accurately be called The Great Hollywood Songbook. Consider the following:

Paul Williams singing “The Rainbow Connection,” a song he wrote for Kermit the Frog in Sesame Street.

Maureen McGovern‘s rich voice, soaring through a sequence of gripping interpretations, vividly bringing to life a medley of songs from”The Sound Of Music.”

Debby Boone‘s “You Light Up My Life,” a song classic from the film of the same name, still completely owned, in every musical manner, by Boone’s still-vibrant singing.

The talented young Kevin Early displaying his musical versatility with convincing versions of a pair of very different tunes: “The Way You Look Tonight” (from Swing Time) and “On The Atchison, Topeka and the Santa Fe (from The Harvey Girls).”

And, perhaps best of all, Alan Bergman‘s stunning reading of “The Windmills of Your Mind,” from The Thomas Crown Affair, with lyrics by Bergman and his wife, Marilyn, music by Michel Legrand. I’ve heard Alan sing it many times, and been deeply moved by each performance.

The music of Hollywood is not just song, of course. Michael Feinstein’s “Hooray For Hollywood” \thoroughly explored that other area – the soundtracks that are essential to a film’s emotional flow. And with an orchestra as adept as the Pasadena Pops, the results could only be world class. As they were.

Among the numerous highlights, there were selections from such familiar film names as Johnny Green, Elmer Bernstein, the Sherman Brothers, Michael Giachino, Erich Korngold, and more:

- The overture to Mary Poppins. The Raintree County overture. Music from The Magnificent Seven. The Prologue to The Sound of Music. Themes from Silverado.(conducted by composer Bruce Broughten),l And the Overture to Funny Girl.

Call it an amazing evening of music, and fascinating glance at the role it plays in the creative workshops of Hollywood. And let me add a coda of thanks to Michael Feinstein, his gifted orchestra and line up of stars, all of whom provided one of the Summer of 2014’s most pleasant experiences.

While I’m at it, Feinstein and the Pasadena Pops, along with guest stars, return on Saturday, Sept. 6, for a show that promises to produce similar musical pleasures: “New York! New York!” I’d say don’t miss it. Especially if you’re an expatriate New Yorker.

 


Live Music: Gustavo Dudamel Conducts the Los Angeles Philharmonic at the Hollywood Bowl in an evening of Beethoven.

July 23, 2014

By Don Heckman

It was warm at the Hollywood Bowl Tuesday night – warm verging toward hot, one of those Bowl evenings when the temperature, and conversations about the temperature, can distract listeners from the music on stage.

Ludwig van Beethoven

Ludwig van Beethoven

But not on this night, a night in which Ludwig van Beethoven, Gustavo Dudamel and the L.A. Philharmonic were so creatively in sync that the magnificent Symphony No. 5 and the lesser known Triple Concerto captivated the entranced audience, wiping away concerns about the simmering temperature.

The Triple Concerto, with violin, cello and piano as its solo instruments, is a work that reflects Beethoven’s apparent – and eminently successful — desire to write a piece that showcases each of the individual instruments, as well as their collective qualities as a piano trio.

Performed by violinist Renaud Capucon, cellist Gautier and pianist Jean-Yves Thibaudet, the rarely heard work came vividly to life. And by the time the ensemble dug into the buoyant, polonaise qualities of the final movement, the stage had been set for the climactic work of the night.

Beethoven’s Symphony No. 5, arguably one of the world’s most frequently heard classical works, never loses its appeal – either for eager listeners, or for conductors equally desirous of displaying their skills upon such a vital composition.

In this memorable performance, that appeal was ever present for an audience mesmerized by the gripping qualities of the Symphony’s unfolding themes. Their responses, climaxed by the waves of applause and shouts of “Bravo!” sweeping across the Bowl after the final notes were sounded, recalled the commentary by Beethoven’s contemporary, E.T.A. Hoffman after the first performance of No. 5 in 1808.

“This wonderful composition, in a climax that climbs on and on,” wrote Hoffman, “leads the listener imperiously forward into the spirit world of the infinite!”

Gustavo Dudamel

It’s a thought that was also present in Dudamel’s shaping of the work from the dramatic utterance of the Fifth’s fanfare-like opening four note motif to the rich melodiousness of the final movement. If Dudamel was tempted in anyway to invest his direction of the work with the dramatic qualities that are so essential to his style, he pushed the thought aside. Instead, he allowed Beethoven and the Fifth itself to provide every element of emotional drama the work needed.

And the results were extraordinary. Whether a listener was a newbie to a live performance of the Fifth, or familiar with numerous past versions, Dudamel and the Phil provided a standard that will surely be recalled as one of the vital performances of a definitive classical work.

To say it was a night to remember is surely correct, but even a sweeping generalization of that sort doesn’t give full justice to this remarkable performance. So all praise to Beethoven, Dudamel and the Los Angeles Philharmonic.

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Dudamel photo courtesy of the Los Angeles Philharmonic.


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