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September/October 2011

American Record Guide

Independent Critics Reviewing Classical Recordings and Music in Concert&

Side 1

San Francisco Ring - 3 Views

Carnegie's "Spring for Music"

Buffalo Phil's 2 premieres

L.A.Master Chorale

Montreal Piano Competition

Festivals:

Boston Early Music

Spoleto USA

Fayetteville Chamber Music

Montreal Chamber Music

Mahler's 100th:

MTT's Nos.2,6,9

Crakow Phil Festival

AmericanRecordGuide

Contents

Sullivan & DaltonCarnegie's "Spring for Music" Festival4

Seven Orchestras, Adventurous Programs

Gil French

Cracow's Mahler Festival7

Discoveries Abound

Jason Victor Serinus

MTT and the San Francisco Symphony10

Mahler Recapped

Brodie, Serinus & Ginell

San Francisco Opera's Ring Cycle12

Three Views

Brodie & Kandell

Ascension's New Pascal Quoirin Organ16

French and Baroque Traditions on Display

Perry Tannenbaum

Spoleto USA19

Renewed Venues, Renewed Spirit

John Ehrlich

Boston Early Music Festival22

Dart and Deller Would Be Proud

Richard S Ginell

Mighty Los Angeles Master Chorale24

Triumphing in Brahms to Ellington

Herman Trotter

Buffalo Philharmonic26

Tyberg Symphony, Hagen Concerto

Melinda Bargreen

Schwarz's 26 Year Seattle Legacy28

Au Revoir But Not Good-Bye

Bill Rankin

Edmonton's Summer Solstice Festival30

Chamber Music for All Tastes

Gil French

Fayetteville Chamber Music Festival32

The World Comes to Central Texas

Robert Markow

Bang! You've Won34

Montreal Music Competition

Robert Markow

Osaka's Competitions and Orchestras35

American, Dutch, French, and Russian Winners

Edward Greenfield

Glyndebourne's First Meistersinger38

Dressing Well (and Warmly) at Garsington

Here & There40

Opera & Concerts Everywhere42

Critical Convictions50

Meet the Critic: Don O'Connor53

Guide to Records54

Collections178

The Newest Music227

Broadway234

Archives235

Videos 243

Books 254

Record Guide Publications256

Festivals Galore:

Bavarian State Opera

BellinghamCabrillo

Festival of the Sound

GlimmerglassMusic at Menlo

Ohio Light Opera

And Much More...

Coming in the Next Issue:

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www.AmericanRecordGuide.com e-mail:subs@americanrecordguide.com

Editor: Donald R Vroon

Editor, Music in Concert: Gil French

Art Director: Ray Hassard

Design &Layout: Lonnie Kunkel

..Advertising: Elaine Fine (217) 345-4310

Reader Service: (513) 941-1116

ATLANTA:James L Paulk

BOSTON:John W Ehrlich

BUFFALO:Herman Trotter

CHICAGO:John Von Rhein

CLEVELAND: Robert Finn

LOS ANGELES: Richard S Ginell

NEW YORK: Susan Brodie, Joseph Dalton,

Leslie Kandell

SANFRANCISCO:Jason Victor Serinus

SANTAFE:James A Van Sant

SEATTLE: Melinda Bargreen

LONDON: Edward Greenfield, Kate Molleson

CANADA: Bill RankinRECORD REVIEWERS

Vol 74, No 5 September/October 2011 Our 76th Year of Publication

Paul L Althouse

Brent Auerbach

John W Barker

Carl Bauman

Alan Becker

William Bender

John Boyer

Charles E Brewer

Brian Buerkle

Ira Byelick

Stephen D Chakwin Jr

Ardella Crawford

Stephen Estep

Donald Feldman

Elaine Fine

Gil French

William J Gatens

Allen Gimbel

Todd Gorman

Philip Greenfield

Steven J Haller

Lawrence Hansen

Patrick Hanudel

James Harrington

RobHaskins

Roger Hecht

David Jacobsen

Benjamin KatzKenneth Keaton

Barry Kilpatrick

Mark Koldys

Lindsay Koob

Kraig Lamper

Mark L Lehman

Vivian A Liff

Peter Loewen

Ralph V Lucano

Joseph Magil

Michael Mark

John P McKelvey

Donald E Metz

CatherineMoore

David W Moore

Robert A Moore

Kurt Moses

Don O'Connor

Charles H Parsons

David Radcliffe

David Schwartz

Jack Sullivan

Richard Traubner

Donald RVroon

American Record Guide

CORRESPONDENTS

Peter Hugh Reed 1935-57

James Lyons 1957-72

Milton Caine 1976-81

John Cronin 1981-83

Doris Chalfin 1983-85

Grace Wolf 1985-87PAST EDITORS

PHOTOCREDITS

Page 4: Photo by © Steve J. Sherman.

Page 8: Photo by J.Wrzesinski

Page 10: Photo by Bill Swerbenski

Page 11: Photo Courtesy of SFO

Page 12: Photo by Cory Weaver

Page 16 & 18: Phot by Tom Ligamari

Page 19 & 21: Photo by William Struhs

Page 22 & 23: Photos by BEMF.org

Page 24: Photo by Steve Cohn

Page 25: Photo by Lee Salem

Page 27: Photo by Mark Dellas

Page 28: Photo by unknown

Page 31: Photo by Twain Newhart

Page 36: Photo courtesy of AttaccaPage 40: Photo by Sussie Ahlberg

Page 38: Photo by Alastair Muir

Page 42: Photo by Scot Ferguson

Page 46: Photo by Bonnie Perkinson

Sig01arg.qxd 7/22/2011 4:46 PM Page 2

September 7-14

Kent Nagano and the Montreal Symphony cel-

ebrate the gala opening of L'Adresse Sym- phonique, Montreal's new symphony hall, with works by three Quebec composers and

Beethoven's Symphony No. 9. Four nights later

the Borodin Quartet performs Quartets Nos. 15 by Beethoven and Shostakovich. Then Nagano inaugurates the MSO's regular season with

Joshua Bell (Glazounov and Tchaikovsky) and

Messiaen's Turangalila Symphonywith pianist

Angela Hewitt.

September 9-10

Joana Carneiro leads the St Paul Chamber

Orchestra in the world premiere of Nico Muh-

ly's Luminous Body. Also on the program are works by Bach, Haydn, and Brahms at the Ord- way Center.

September 10-30

The San Francisco Opera gives the world pre-

miere of Christopher Theofanidis's Heart of a

Soldierwith Thomas Hampson, William Bur-

den, and Melody Moore conducted by Patrick

Summers and directed by Francesca Zambello

at War Memorial Opera House.

September 14-15

The Kalichstein-Laredo-Robinson Trio per-

form yet another world premiere, Stanley Sil- verman's Piano Trio No. 2, on a program with

Mozart's Trio, K 502, and Beethoven's Arch-

dukeat New York's 92nd Street Y (see a review of their Danielpour premiere in this issue).

September 23-30

David Robertson and the St Louis Symphony

serve up two weekends of world premieres at

Powell Hall: Steven Mackey's Piano Concerto

with Orli Shaham plus Mahler's Symphony No.

1; then Edgar Meyer in his Double Bass Con-

certo No. 3 on a program with Copland's Suite from The Citywith film, plus Ives and Gersh- win.

September 29

Sitarist Ravi Shankar (we can hope) celebrates

his 91st birthday with a long-awaited, twice-postponed concert at Disney Concert Hall in

Los Angeles.

September 22-October 1

In his first two weeks as the Seattle Sympho-

ny's new music director, Ludovic Morlot con- ducts Zappa's Dupree's Paradise, Dutilleux's

Tree of Dreamswith Renaud Capuçon,

Beethoven's Eroica, Stravinsky's Rite of Spring,

Gershwin's American in Paris, and Varese's

Ameriquesat Benaroya Hall.

October 4-8

The Brooklyn Academy of Music presents Kurt

Weill's Threepenny Operawith stage direction

and lighting conceived by Robert Wilson. The

Berlin Ensemble accompanies the US pre-

miere of this production.

October 6-11 and 14-16

Valery Gergiev and the Mariinsky Orchestra

take Tchaikovsky's six symphonies (two per night) first to Carnegie Hall and then to the

University of California-Berkeley's Zellerbach

Hall. They add an extra night in New York with

the winner of the 14th Tchaikovsky Competi- tion plus works by Stravinsky and

Shostakovich.

October 16

Pianist Louis Lortie celebrates Liszt's bicenten-

nial with the complete Years of Pilgrimageat the Royal Conservatory's Koerner Hall in

Toronto.

October 22-23

David Alan Miller leads the Albany Symphony

in the world premiere of Kathryn Salfelder's

Saxophone Concerto with Timothy McAllister,

plus Kernis's Concerto with Echoesbased on

Bach's Brandenburg Concerto No. 6 (also on

the program), and Mendelssohn's Italian Sym- phonyat Troy Savings Bank Music Hall in Troy and Skidmore College's Zankel Music Center

in Saratoga Springs.AMERICAN RECORD GUIDE (ISSN 0003-0716) is published bimonthly for $43.00 a year for individuals ($55.00 for institutions)

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Music in Concerthighlights

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4Music in ConcertSeptember/October 2011[The unique purpose and the principles for

selecting orchestras that perform in the "Spring for Music" Festival, held in May at

Carnegie Hall and now planned through

2013, is explained at: springformusic.com-

/Mission.htm. Jack Sullivan attended six of this year's seven concerts; Joseph Dalton attended the middle one with the Dallas

Symphony. - Editor]

Jack SullivanW

e hear so many grim stories about the state of symphony orchestras that it is heartening to report something good for a change. "Spring for Music" is a new annual series of adventurous programs per- formed by North American orchestras chosenby competition. The orchestras, both full-sized and chamber, played at Carnegie Hall, the gold standard for orchestral sound, over a hec- tic but exciting nine-day period in early May.

All seats were $15 to $25, a brave attempt to

lure younger audiences as well as local folk flown in from each region (1400 from Toledo,

Ohio, alone for the Toledo Symphony).

Instead of the usual overture-concerto-sym-

phony formula, each program had to have a distinct architecture or theme, and there was a generous amount of contemporary music, much of it commissioned for the festival.

As a revelation of some regional orchestras

and what they are capable of, "Spring for

Music" was a series of wonderful surprises. It's

one thing to hear local ensembles on obscure

CDs, quite another to experience them at

Carnegie's "Spring for Music" Festival

Seven Orchestras, Adventurous Programs

Carlos Kalmar conducts the Oregon Symphony

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American Record GuideMusic in Concert5

Carnegie Hall cheered on by home supporters

as well as curious New Yorkers who are used to hearing the Vienna Philharmonic and the

Cleveland Orchestra again and again. Most of

these bands never make it to Carnegie at all; indeed, the Oregon Symphony had never ven- tured west of the Mississippi (simply too expensive, one of the exhausted but happy players told me after their concert). Every orchestra I heard was good, and every one had a dramatically different sound, rebutting the cliche that all orchestras these days sound the same.

The Albany Symphony under David Alan

Miller had the juiciest sonority. Their perfor-

mance of Copland's Appalachian Springin the rarely heard "complete" version was one of the most colorful and memorable I've heard in a very long time (two weeks later I could still hear it floating through my head). This is not just because the normally excised material supplied a dark and startling contrast to the serene folksiness of what we normally hear, as if Connotationsor some other modernist Cop- land piece had suddenly invaded his pastoral style, but because Albany's luminous strings, forceful brass, and vivid winds took the work to a new level of poetry and theatricality.

The Toledo Symphony under Stefan

Sanderling was more delicate and austere, ide-

ally suited to whisper the mysterious tremolos in Shostakovich's Symphony No. 6; though, at the end, jeering woodwinds and thundering timpani showed they could make a big noise when they needed to. Sanderling brought out the jarring contrasts and discontinuities in this eccentric symphony with great skill.

On the same program was the rarely pro-

grammed Every Good Boy Deserves Favor, an absurdist lampooning of Soviet oppression by

Tom Stoppard and André Previn. It went beau-

tifully with the symphony, especially since

Previn's music is a Shostakovich pastiche. This

symphonic playlet from the late 1970s is a risk, requiring six actors and 94 players who only perform intermittently, since the "orchestra" exists in the head of a prisoner in a Soviet mental institution. Stoppard's brilliantly sar- donic language was a treat (though the acting was only adequate), as were Previn's lively riffs on Shostakovich.

The presence of fans waving colored han-

kies, so obviously proud of their hometown bands, lent a festive, slightly goofy air to even the most challenging concerts, including the

Oregon Symphony's somber wartime pro-

gram. All the works in the first half were played without pause: Ives's Unanswered Question, so quiet in Carlos Kalmar's reading it was almost ineffable, faded into John Adams's Wound

Dresser, a tender and poignant depiction of

horror (surely Adams's most eloquent piece),its Whitman text subtly sung by Sanford Syl- van. It too ended quietly, but we were sudden- ly jolted out of our seats by the violent timpani and howling low brass of Britten's Sinfonia da

Requiem. After the break, the orchestra erupt-

ed into a cathartic, go-for-broke performance of Vaughan Williams's Symphony No. 4. The composer insisted it was not really a wartime testament, but this explosive reading suggest- ed otherwise. The Toledo Symphony will play this same program as part of their 2011-12 sea- son.

The new works at the festival, 18 by my

count, were a decidedly mixed bag. The most glamorous premiere, Carlos Drummond de

Andrade Storiesby the jazz crossover celebrity

Maria Schneider (who conducted the concert),

sounded like air-brushed Villa-Lobos. It was certainly pleasant enough and was performed with silky authority by Dawn Upshaw and the

St Paul Chamber Orchestra. Upshaw, who

plans to be regular in the "Spring for Music" series, made a similar impression in Bartok's

Five Hungarian Folk Songs. Her unrelenting

earnestness, combined with a smooth arrange- ment for string orchestra by Richard Tognetti, drained these songs of Bartokian color and charm. This program, the only one without a theme, included an elegant performance of

Stravinsky's Concerto in D and a vigorous

account of Haydn's Symphony No. 104.

Melinda Wagner's Little Moonhead, an

impressionist palette of seductive moods and colors, was by far the best of the "New Bran- denburgs" presented by the Orpheus Chamber

Orchestra. As demonstrated by her recent

Trombone Concerto for the New York Philhar-

monic, Wagner is an eloquent, poetic voice in contemporary music. Also on the program were Aaron Jay Kernis's charming Concerto with Echoes(inspired by Brandenberg Concer- to No. 6), Peter Maxwell Davies's dour and dreary Sea Orpheus, and Christopher Theofan- dis's gushy, minimalist Muse, which got a loud ovation from an otherwise frosty New York crowd (such a contrast to the heartland whoopers). Only Stephen Hartke and Paul

Moravec, in the finales of Brandenburg

Autumnand Brandenburg Gate, supplied the

requisite neo-classical fizz for a Brandenburg evening. This was a long, difficult program to bring off, but Orpheus played with their usual finesse and authority. The Albany Symphony will pair the Kernis with the Bach No. 6 on an

October concert.

The other series of new pieces was the

Albany Symphony's "Spirituals Project" (not to

be confused with Art Jones's educational pro- ject of the same name, which has been pro- moting spirituals for a dozen years): nine new "spirituals" commissioned by David Alan

Miller, one instrumental work by George Tson-

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6Music in ConcertSeptember/October 2011

takis for orchestra and solo "fiddler", and eight songs by John Harbison, Daniel Bernard

Roumain, Bun-Ching Lam, Tania Leon, Donal

Fox, Kevin Beavers, Richard Adams, and

Stephen Dankner, all sung by the young

African-American baritone De'Shon Myers.

The fiddler, David Kitzis, stole the show in his

procession from one end of Carnegie Hall to another, his violin resonating brilliantly and vanishing with ghostly shivers in Carnegie's remarkable acoustic.

In his announcement of this ambitious

project, Miller complained about the lack of worthwhile symphonic spirituals besides Dvo- rak's; yet there is a legacy of "sorrow song" masterpieces by Delius, Tippett, and Zemlin- sky, not to mention chamber works by Korn- gold and Coleridge-Taylor. For the most part, these blandly meandering arrangements didquotesdbs_dbs19.pdfusesText_25

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