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The Philadelphia Orchestra

Juliette Kang, violin

Eun Sun Kim, conductor

Feb. 12-13

Verizon Hall, Philadelphia

www.philorch.org

Conductor Eu Sun Kim (photo: Nikolaj Lund)

Verizon Hall in Philadelphia was all but full for the February 12 debut performance of Korean conductor Eun Sun Kim leading a program of Dvorak, Barber and the premiere by Philly born composer Mason Bates. Ms. Kim is in her inaugural year as San Francisco Opera’s musical director and has been hailed for her performances at  Los Angeles Opera, Houston Opera, and the Cincinnati Symphony, with upcoming dates at the Vienna State Opera and the Met.

Bates opened the concert with remarks about his ‘Rhapsody for Steve Jobs’  culled from full opera ‘The (R)evolution of Steve Jobs. That the piece was a “Suite” but in the symphonic style of a ‘Rhapsody’     

Just last month the Philadelphians premiered Bates’ dynamic Piano Concerto with Russian virtuoso soloist Daniil Trifonov. Aside from structural symphonic elements, his ‘Rhapsody’ took off with  cinematic rhythmic drive, and a matrix of orchestral layers. Ms. Kim was greeted with warm applause for her command and palpable rapport with this orchestra.

The ‘Rhapsody’ a co-commission by the Philadelphia Orchestra, proved a fine entre into the intricate aspects of Barber’s concerto. Juliette Kang has soloed in previous concerts with 1^st violinist concertmaster David Kim and their doubling on virtuosic music is one of precision and artistic excellence.

Barber’s concerto is not only by design virtuosic in its technical demands but gives the soloist room for expressive artistry. Kang’s command and  interpretive artistry apparent from the deep expressionism in the opening passages. From there building to on one of the most demanding violin concertos in the modern canon. The middle of the second movement, there seemed to be one or two moments of imbalance between Kang and the orchestra. In the final movement, with Barber’s tornadic strings in fiery flight, Kang’s attack and interpretive artistry spellbinding. ’.

Kang was back after intermission in the principal violin for the Dvorak’s Symphony and was met with another lusty round of applause as she cued the orchestra. Maestro Kim leaned into its luster as a warhorse bombast and the central symphonic theme, that by it 12^th variation over four movements, can be heavy going indeed. But Kim kept the tempos crisp, and orchestral balance.

 Dvorak’s most famous English horn passage rendered in this performance at its most serenely radiant by principal oboist Philippe Tondre. , even though it by now is freighted with symbolic lore, about ‘New World’ pluralism, or appropriation  of Native American musicality or a Czech folk tune variation. Whatever Dvorak had in mind; in this performance it was performed with radiant clarity by principal Philippe Tondre. In the final movement was the triple violin adagio passage played by Kang’s assistant concertmaster Marc Rovetti, and 2^nd chair principal violinist Kimberly Fisher simply entrancing.

DjangoLives….

All-Stars at Carnegie Hall, May 2018|

Django Festival All-Stars
Perelman Theater, Philadelphia
Nov. 3

The Django Festival Allstars  kicked off their current US tour in Philadelphia Nov. 3 with a 90 minute set as the premier artistic disciples of legendary guitarist-composer Django Reinhardt. The ensemble bringing Reinhardt’s artistic legacy and with new interpretations, variations and compositions bringing “gypsy jazz” to a new generation of avid fans.

Led by veteran guitarist/violinist Dorado Schmitt, his two sons Samson and Amati Schmitt on guitars and Franko Mehrstein, rhythm guitarist; filling out the AllStars accordionist extraordinaire Ludovic Beier, violinist Pierre Blanchard and bassist Gina Roman.

The AllStars are consummate musicians, virtuosic without doubt, but with a jam session vibe going,  constantly feeding off the energy of each audience.  Their one night only concert At the Kimmel Center’s Perelman Theater in Philly bringing the house down more than once.

Here are some random highlights.

 The AllStars ignited the night with a quick tempo arrangement of Cole Porter’s ‘Love for Sale’ turned into a foxtroty rhythm guitar of Samson Schmitt and Mehrstein, under Blanchard’s supple violin lede melody, and the spidery accordion of Beier, all spinning the room around. The audience was in Django ‘s world of “hot jazz’ of the 30s by the end of the song that spins the room spins around.

The All-Stars only played one track from their latest recording 2017’s Attitude Manouche and with Beier saying they were delighted to kick off their tour in “beautiful Philadelphie and we have some new songs” for the occasion.

Beier announced a composition called “Deep Sea Waters” (I think) he wrote the week before the concert. He states the theme with a run of a 16th note stream of accordion consciousness with, a mach speed tempo, quick step tango, that like the dance keeps getting more intricate. Pierre has a cadenza then Mehrstein takes the lead on rhythm guitar, along with the muscled counterpoint of bassist Gina Roman.

Next, Samson  Schmitt  introduced his composition” Lovely Wife” the only track the AllStars performed from “Attitude Manouche. ”  Samson’s Spanish-French guitar, backed by Beier and Blanchard atmospherics, is a true troubadour romanza.

They introduced “Dorado’s Smile” dedicated obviously to the leader of the AllStars. The tune is a accordion and guitar jam, A stop time dancey tune that in the dance hall of the 30s, couples who floor the floor for an at-ease Lindy hop.

Samson then introduced “the boss” his father Dorado and brother, fellow guitarist Amati Schmitt (in a suave satin floral jacket. A song from the film “Django.”  Dorado hit the full swing violin jump. The tempo akin to ‘One o’clock jump’ and the ambiance just transporting and hypnotic. The breathtaking passagio fiddling up and down the scale, tingled up and down your spine. The rhythmic gypsy jazz rondo and Dorado’s violin voicing reaching the stratosphere and Beier’s lightning speed on the accordion keyboard hypnotize, in this tune there was even a blue slide feel ala Fats Waller, along with some rowdy vocalizing by the rest of the band.

When Pierre was offstage, Dorado played the soulful ‘For Pierre’ a sentimental tribute to the musical artistry of Blanchard.

As astounding as Beier is on the accordion as a one man orchestra, he is spellbinding playing the accordina a mini-mouth accordeon powered by his own lungs, his fingers playing a keyboard. In a lengthy improvisational ballade (possibly End of a Love Affair) exemplar of his astounding breath control and keyboard dexterity.

The AllStars showcased the range of Reinhardt’s aesthetic and as proponents of “gypsy jazz” how it has infinitely many permutations, colors, themes, evocations and musical possibilities in its multi-national folkloric fusion. The encore had so much Eastern European & Russian folkloric (an echo of  Glinka?) DNA, maybe,  who knows, it’s all jazz as Sachmo famously said, and with the Django Festival AllStars, it still sizzles, catch them if you can on their current tour.

After Philly, the band was headed for New Jersey, then a five night run at Birdland in New York, a few nights in New England, onto Canada and then the West Coast.

Classical Philly

 

Kirill Gerstein (photo: courtesy Philadelphia)

 

French Tales

The Philadelphia Orchestra

Oct. 25, 26, 10.27.2018*

Camille Saint-Saëns: Danse Macabre, Op. 40

César Franck:  The Accursed Huntsman

Paul Dukas: Sorcerer’s Apprentice

Maurice Ravel:  Piano Concerto in G major

Suite no. 2 from Daphnis and Chloé

 

Louis Langrée, conductor

Kirill Gerstein, pianist

Cincinnati Symphony Orchestra music director Louis Langrée returned to the Philadelphia Orchestra podium to conduct a sumptuous evening French repertory in what was one of the concert highlights of the year in Philadelphia across the board. Langrée also renowned as director of Lincoln Center’s Mostly Mozart Festival, brings the same vibrancy to a program of Saint-Saens, Franck, Dukas and a Ravel’s Suite & the marquee draw of Ravel’s monumental concerto performed by Russian pianist Kirill Gerstein.

Langrée is a debonair, warm presence on the podium as he ignites Saint-Saëns’ Danse Macabre with a dimensional orchestral clarity. His tempos blazing a revelation and framing an equally fiery violin solos by concertmaster Juliet Kang, Kang’s signature lush tone and fiery fiddler drive in an altogether thrilling performance.

Next, Caesar Franck’s aggressive orchestral The Accursed Huntsman, a work full of brass and percussion pyrotechnics and other symphonic effects that fit the season. All fueled at full volume in this performance, but Langrée’s   fluid detailing during the less bombastic  passages to make it more than a showy showpiece.

Dukas’ Sorcerer’s Apprentice is pure fun and fitting for October’s last weekend and the orchestra, a Halloween seasonal favorite with those famous harrumphing bassoon motifs known to kids of all ages from Walt Disney’s Fantasia with Mickey Mouse commandeering a brooms to carting water. And child’s play with virtuoso bassoonists Daniel Matsukawa, Mark Gigliotti and Angela Smith (a scene stealing growler bassoon) not beyond vamping, but Langrée again giving equal luster to the rest of the piece.  (at some point a surreal moment did come for some of us in the audience when a mouse scurried across the aisle.)

Kirill Gerstein’s interpretation of Ravel’s masterpiece Piano Concerto in G, was the concert highlight of an evening of stellar musicianship. Gerstein’s command of every aspect of this masterpiece hypnotic to watch and his precision and interplay with the orchestra. In this performance the voicings of  jazz sinfonia deftly essayed by Gerstein. But all of the dimensions and mystique of this concerto inspiring his technical artistry.
Thrilling duet passages between Gerstein and principal harpist Elizabeth Hainen

Langrée stayed in Ravel’s musical universe for the altogether magical performance of Suite no. 2 from Daphnis and Chloé, Ravel’s illusory orchestral that still can has the contact high of a belle epoch opium den, that only the lusty applause by this audience would crash one back to reality. The orchestra just luminous throughout and among the outstanding soloists principal flute Jeffrey Khaner and actually all the way down the woodwinds.

In the three curtain calls Langrée expressed his already palpable rapport with the Philadelphians, shaking hands with several players and cuing every section of the orchestra to take ensemble bows.

Classical Philly

The Philadelphia Orchestra
Yannick Nézet-Séguin, conductor
Giacomo Puccini’s Tosca |Giuseppe Giacosa, Luigi Illica: Libretto

Verizon Hall, Philadelphia, May 12, 16 & 19, 2018
Jennifer Rowley (Tosca); Yusif Eyvazov (Mario): Ambrogio Maestri (Scarpia): Richard Bernstein (Angelotti); Ehtan Lee (Shepherd Boy)
Philadelphia Symphonic Choir, Joe Miller (director); Philadelphia Boys Choir Jeffrey R. Smith (director)
James Alexander (designer and stage director); Jon Weir (lighting design)

Baritone Ambrogio Maestri & Soprano Jennifer Rowley in Tosca (photo: Jessica Griffith

Philadelphia Symphonic Choir & Philadelphia Boys Choir in Tosca

Since Yannick  Nézet-Séguin became musical director of the Philadelphia Orchestra five years ago, he has tried to stage operas in Verizon Hall, by design not easy, since the orchestra is not in a pit, but onstage during performances. It works well enough with minimalist operas like “Bluebeard’s Castle” and “Electra” where the singers able to perform in front of the musicians, but more  problematic for the semi-staged production of Puccini’s Tosca, in a semi-staged production with the singers ensconced on a platform in the choir loft. Stage director David Alexander having to move the cast block the loft tiers, making the scene focus diffuse and somehow static and scrambled at once.

On the ps side the orchestra is in sight for the whole performance, a rare chance in grande opera to take in aspects of singers-conductor- orchestra dynamics. Further, Nézet-Séguin is able to vault the orchestra’s voluptuous sound, and otherwise igniting Puccini’s symphonics at the outset. Nezet-Seguin specializes in equalizing large scale classical pieces with famous stand alone passages familiar to concert hall audiences.  Tosca’s famous arias and dramatic passages are landed in context by the Philadelphians with precision and balance, relative to the entire score.

And handling the most dramatic ones, Soprano Jennifer Rowley as Tosca, and stepping in at the last minute for an ailing Sonya Yoncheva.  At the May 16  Rowley seemed detached and with little passion in Act I’s scenes with tenor Yusev Eyvazov, who played her artist lover, Mario. Since Flora Tosca is a singer herself, Rowley was a bit underpowered and detached portraying flirty jealousy. She made up for it in Act II when she tries to save him from being tortured by Baron Scarpia, starting with her ‘Vissi d’arte’ aria.

The drama begins as Cesare, bass Richard Bernstein  (making the most of his short dialogue passages) an escaped political prisoner is being hidden, in the church by a sousey Sacristan. In pursuit is Scarpia, wealthy chief of police, who suspects that Cavaradossi and Flora are withholding information.  Scarpia arrests Mario to force Tosca to talk about what she knows of Cesare whereabouts.

Baritone Ambrogio Maestri is the dastardly Scarpia, who later blackmails Tosca into being his lover.  She bends to his will as she hears Mario being tortured in his cell. Rowley and Ambrogio have great adversarial chemistry. Scarpia can certainly be portrayed with over the top villainy, but Maestri tamps that down as an actor and vocally to his characterizations, his baritone bringing subtlety and breadth.

Rowley has to be convincing leading him on until she can make a move to help Mario.  She unleashes  her soaring gold soprano, particularly commanding upper vocal range surfing over Puccini’s the orchestral crescendos. Yusev Eyvazov’s brings the house down in the famous “E lucevan le stelle” aria with thundering classic tenor drama.

Bass Kevin Burdette is used as comic relief as the Sacristan, swigging from a flask and flouncing about as he leads the choir to distracting the guards & protect Caesare.

Director James Alexander lets the Philadelphia Boys Choir scamper around the seats and rock out a bit for their sacred hymn “Te Deum.” The adult members of the Philadelphia Symphonic Choir are costumed as soldiers, police and townsfolk, but there is not much for them to do. Boy Soprano Ethan Lee appears as Shepard in Act II in perfect voice, both ethereal and earthy.

Nézet-Séguin was animated and even had a few new dramatic conductor moves to punctuate the crescendos. He looked like he was having a great time, going for every dimension of the score, despite production limitations. Among the standout soloists Jeffrey Khaner (flute), Hai- Ye Ni and Priscilla Lee, lead cellos, CJChang, viola,  David Kim, violin; Richard Woodhams, oboe and the breathtaking horn herald that launches Act III by the always masterful Jennifer Montone.

Nézet-Séguin is now conductor designate at the Metropolitan Opera and has already been putting his stamp on the Met Orchestra. Meanwhile, he is showing equal flair in the sustained clarity, detailing and character of Puccini with The Philadelphians. In fact, so assured, that even though Yannick had the score in front of him, he barely seemed to look at it.

Other issues swirled around the three performance of Tosca and the regular concert season closing concerts with piano superstar Helene Grimaud.  The performances were met with protesters objecting to the orchestra’s tour of Israel, because of current policies concerning and conflict with Palestinians.  The orchestra asserts that their tour is not political and their mission is one of musical diplomacy.  Stay tuned.

 

 

BalletMetros~extra

Premier soloist James Ihde bids farewell with ‘Diamonds’

May 13 on the Academy stage ~ Lillian DiPiazza & James Ihde in Diamonds photo: Arian Molina Soca

Red roses sailed over the Academy of Music stage on May 13 landing at the feet of Pennsylvania Ballet soloist James Ides, retiring from the company after 25 seasons, a favorite with audiences and three generations of PABallet dance artists. Ihde’s career with the company is almost unparalleled & he is has continued to dance in top form in his final seasons.  His swansong dance is indeed one of the most demanding roles for a danseur, the male lead in George Balanchine’s ‘Diamonds.’  It was suggested to Ihde by PAB artistic director Angel Corella and in his final performance James would partner prima ballerina Lillian Di Piazza.

Back to those roses in a moment, but first, there the matinee performance of Balanchine’s trilogy “Jewels”~  ‘Emeralds’, ‘Rubies’ and ‘Diamonds’~  representing a range of neoclassical choreography.   The dramatic glittery backdrops and sumptuous costumes by Karinska elicited applause and wows as the curtain went up on each one.  Much credit goes to Balanchine Trust repetiteur Elyse Borne’s for her technical precision and distinct musicality she brings to each ballet in this revival.

‘Emeralds’ is scored to music by Gabriel Fauré and is one of Balanchine’s most decorative ballets, and at its best as it was in this performance, a haunted mystique.  Karinska’s costumes have the mens in velvet emerald doublets and the women in pale green tulle ballet skirts.

Both lead couples, Yuka Iseda-Jermel Johnson and So Yung Shin- Jack Thomas,  captivating in their technical artistry.  The featured trio also proved a dazzling mise-en-scene for corps dancers Alexandra Heier, Emily Davis and Ashton Roxander.  Affron brought forth all of the lyrical mystique of Faure, and among the sterling soloists principal violinist Luigi Mazzocchi, harpist Mindy Cutcher, oboist Nick Masterson & cellist Jeannie Lorenzo.

‘Rubies’ is Balanchine is another defining collaboration with composer Igor Stravinsky and an undisputed masterpiece.  The propulsive drive of Stravinsky’s ‘Concerto for Piano and Orchestra’ inspiring Balanchine to break out of his own signatures and conventions. ‘Rubies’ choreo in a completely different choreographic key for Balanchine, so different from the austerity of his most famous modernist ballets. It’s witty and wry choreography that leaves room for liberated interpretation by the dancers. And lead couple Ian Hussey and Oksana Maslova revel in its propulsive virtuosity as a most fiery balletic romp. Balanchine’s angling the choreography in counterpoint to the Stravinsky dominant piano solos. played with breathtaking command by PAB pianist Martha Koenemann.

And the third lead, a breakthrough role for PB apprentice Sydney Dolan. Commanding technical artistry and star power. Five men are in position to move her around in arabesque variations, a dancer version of the ‘facets’ to a ruby’s inner ‘fire.’  And really that concept extended, in this performance to the corps women,  who throughout with sharp ensemble pointe & (counter)pointe work.

James Ihde about to launch his final performance (photo: Arian Molina Soca)

Then it was all about ‘Diamonds.’ The anticipation for James Ihde entrance was building during the extended corps de ballet scene that opens Balanchine’s ‘Diamonds’ his glittering distillation of  Imperial Ballet classicalism set to the sonic waves of Tchaikovsky’s Symphony No. 1.  when they finally exit and then the burst of applause as Ihde and partner Lillian DiPiazza make their entrance,   Di Piazza and Ihde have radiant chemistry together from the start.  Ihde had a few tentative moments and completely pitched out of grand pirouettes, but, powered through, with incredible authority and artistry.

His jete circle nicely paced. DiPiazza’s steely pointe work and subtle expressiveness make this an indelible partnering. The full corps de ballet executing the crucial unison ensemble work without looking mechanical. And this was another opportunity for Corella to showcase what has been developing all season, a more uniform strength in the mens corps.

The curtain coming down on the full company ensemble grande processionale by Balanchine and DiPiazza and Ihde the glittering center. And then it was all over, the applause building as the curtain came back up on Ihde alone on the Academy stage for several moments that were, indeed, like an intimate, a once in a lifetime moment with an old friend…

James Ihde final bow

photos: Beverly Wexler

 

…As the current roster of PABallet dancers came onstage with roses & heartfelt embraces. Many of James’ former dance colleagues were there to bid him farewell including  legendary founder of Pennsylvania Ballet Barbara Weisberger, who was a protégé of Balanchine dating back to the 30s when she was the youngest dance student in his class.

A most memorable moment as Conductor Beatrice Jona Affron came onstage to take a bow with Ihde. Affron has been conducting  PABallet Orchestra since the early 90s, in fact, as long as James’ tenure.  And without doubt, this performance of Tchaikovsky, Faure and Stravinsky has to be among the finest programs this orchestra has ever played.

PABallet founder Barbara Weisberger & James Ihde (courtesy PAB)

Artistic director Angel Corella presented Ihde with a bouquet and champagne as confetti and more roses sailed out from the orchestra pit during the 20 minutes of lusty applause for a great contemporary danseur, an indelible dancer in this and many another ballet season to remember.

DanceMetros

Cracking the Nutcrackers

Russian expat George Balanchine choreographed The Nutcracker for New York City Ballet in 1954. Balanchine danced several roles in the ballet at the Maryinsky Theater created by Lev Ivanov’s 1892. He streamlined the story with a mix of neoclassic balletics and pantomime dance for American audiences. The Balanchine artistic trust only permits certain companies permission to dance Balanchine’s Nutcracker and there are plenty of other interpretations that re-imagining the story, some sticking closer to the ballet’s Russian origins.

When The Moscow Ballet’s ‘Great Russian Nutcracker’ swung into Philly for two nights at the Annenberg Center in Philly just nights after the Pennsylvania Ballet’s Balanchine production opened, I thought it would be interesting to compare the choreographic templates, lineage and impact on contemporary audiences.

PB principal Alexander Peters leads the Candy Canes

PB Principals Ian Hussey & Amy Aldridge as Sugar Plum & her Cavalier

PB Corp de Ballet in Snowflake scene

MoscowBallet Arabian Variation Sergey Chumakov & Elena Pretrachenko

MB’s Harlequin scene

Pennsylvania Ballet’s production of George Balanchine’s The Nutcracker

Academy of Music, Dec. 9-31

Pennsylvania Ballet Artistic Director Angel Corella continues to sharpen the company’s production of George Balanchine’s Nutcracker and since the Balanchine trust keeps tight reins on the few companies that are licensed to perform Mr. B’s, PAB’s attention to the smallest details make all of the difference, dusting off ACT I of ballet, which is can drag on if not fueled with enough performance energy.

Child dancers Claire Smith and Rowan Duffy as siblings Marie and Fritz, Both young dancers have natural stage presence and are strong dancer-actors, a key element in focusing the opening scenes. And this energy extends to all of the children at the Holiday party, which can often look like seasonal pageantry.

Corella is making sure that both the children and adult dancers are defining characters in their pedestrian and gestural movement.

PAB’s new dance master Charles Askgard portrays Herr Drosselmeir, and is a study of detailed pantomime dance. Even Balanchine’s lumbering mouse battle moves swiftly along.

The Act I solos commence when Drosselmeir animates the Harlequin dolls in their cute pointe patterns, but Balanchine saves the fireworks for the toy soldier solo, a precision dance, with precision flatfooted jumps and limb moving in sharp opposite angles- In this performance danced by Peter Weil with haunted eyes executing the drill steps.

After the faux mouse battle, Marie and the Nutcracker Prince are transported to the snowy forest where Snowflakes perform vintage Balanchine choreography full of geometric configurations and requiring tight esprit de corps. At this performance the corps’ ensemble had the pulse but veered off with some blurry unison pacing and scrambled transitions.

Amy Aldridge as the Sugar Plum Fairy among the little angel gliding over the floor to open Act two and Aldridge who has danced this role many times and this performance can be counted as among her most radiant performances.

In the Act II divertissment Lillian DiPiazza smolders as Coffee in the Arabian Dance and Jermel Johnson slices through the air with saber leg splits for Tea. Alexander Peters and his battalion of Candy Canes getting through those hoops with jaunty flair. Making the most of their flash tarantella in the Spanish Dance are newcomers Sterling Baca and Nayara Lopes.

But it was Dayesi Torriente dancing the lead in Marzapan Shepardess that stood out. This is a deceptively simple looking mid-tempo choreography, is actually very tricky and easily scuttled. Balanchine’s counterpoint patterning can loose technical clarity and merely look pretty. In this performance Torriente commanded with thrilling artistry and her Shepardesses- Adrianna deSvastich, Jacqueline Callahan, Yuka Iseda and Ana Calderan, were completely in sync.

The corp de ballet looked sharper than in the Snowflake scene, with precision and attack in Dewdrop Flowers dance. Principal Mayara Pineiro set the highest mark with her fiery lead solo. Pineiro can just hang on point arabesque and her transition steps flawless entrances and exits to diamond centered turns, airy jetes and luminous pointe work.

The finale pas de deux is all Balanchine fireworks and tests the mettle of even the most technically proficient dancers. Aldridge not missing a moment to thrill with her solid technical prowess from every angle. Aldridge and principal dancer Ian Hussey as her Cavalier with palpable chemistry throughout highlighted by their consistent fluency Balanchine’s difficult lift sequences. Hussey’s solos highlighted with centered turns and solid tours en l’air.

It can’t be understated how vibrant conductor Beatrice Jona Affron’s tempos, detailing and orchestral thrust of Tchaikovsky score are key. In Act I, among the outstanding soloists are Luigi Mazzocchi’s violin solo just engulfing the Academy and harpist Mindy Cutcher floating gorgeously crystal strings first as the first snowflake piques on the floor.

Moscow Ballet’s Great Russian Nutcracker

Annenberg Center, Philadelphia

Dec. 12-13

The Moscow Ballet version of the Nutcracker is a more classic Russian version, without doubt and is a choreographic update by the directors after Imperial Ballet period versions by Russian choreographic masters Vaganova, Marius Petipa and Lev Ivanov.

At the Moscow Ballet’s Great Russian Nutcracker, you pick up right away that the story is much different, with Uncle Drosselmeyer, in a wonderfully danseur lead character part performed by Maksim Bernadskyl. Uncle is Christmas Eve magician who conjures the young girl Masha’s Nutcracker dream escorts us through the whole ballet.

Drosselmeyer Anastasiya Terada is hypnotic in her mechanical moves in a multi-colored ribbon tutu ‘Kissy Doll’ and Konstantin Vinovoy’s Harlequin (the prototype for Balanchine’s Soldier) equally spellbinding. Not transcribed by Balanchine are the Moor Dolls.

Where Balanchine leans heavily on just pantomime and gestural acting to carry Act I, here there is much more dancing including a waltz for the adults, and an officer saber dance.

The Nutcracker Doll & Prince is danced by Mykhailo Syniavskyl throughout (Balanchine turned it into a mostly pantomime role for a young male dancer).

The mice battle is a much more interesting scene, than Balanchine’s limp and comedic version. Here Sergyl Merzlyakov is not a fat cartoon rat, but a scary Rat King in red and black dyed tights stylishly sinister headpiece. The fight choreography has Merzlyakov slicing through the air or in thrilling sword dances with Nutcracker Prince.

Elena Petrichenko and Sergey Chumakov were flash dancing ‘Moor Dolls’ in the first act, but they emerge as virtuoso dance – acrobats to open Act 2 as the Dove of Peace, each with a majestic wing and they cleave together in a series of lifts that keep moving to various symbolic and sculpted positions. Later, the couple appears in an even more dramatic tableau in the Arabian Dance (a lengthier transcription of the Arabian music from Tchaikovsky’s score.)

Balanchine made this a solo dance and one of the highlights of his version for a smoldering solo for a principal ballerina. This has an equally entrancing quality and these two make the most of it.

Balanchine was skimpy on his version of The Spanish Dance even though he has four couples animated in a stylized tarantella, with fancier footwork for the leads pair. Moscow Ballet’s duet for Boris Yastrub and Olga Aru is more interesting in its variation; this couple has wonderful presence and flair in this dance, though their technique flagged.

Moscow Ballet’s ‘Chinese Variation’ (Tea) is much more developed than Balanchine’s flash dance version with glittering repeated phrases. MB’s is much more a character dance, however un-pc with ‘Orientalism.’ Juliya Verian and (stealing the show again) Sergyl Merziyakov’s playful patterns transition steps to technically dazzling double tempo grand pirouette and razor sharp aerial splits.

The reverse is true in The Snowflake ensemble dance at the end of Act I, Moscow’s Snowflakes are exemplar of Russian ballet decorousness, whereas in Balanchine’s turns the heat way up for the Snowflake scene to cap off Act I.

Moscow Ballet’s ‘Russian Variation’ is an expanded Czardas dance with Anton Romashkevych and Anna Bogatyr in traditional Ukrainian dress exuberant in high stepping patterns. Romashkevych in robust barrel rolls and Cossack plies, around Bogatyr, who is twirling like a top. Balanchine turned this into the Candy Canes hoop dance, which is just as effective as a scene, but doesn’t have this folkloric flavor.

Mykhilo Syniavskyi and Veronika Hordina have great chemistry and refinement in the central pas deux that define their characters and unfolds in dramatic finales for both acts.

So Moscow Ballet’s Great Russian Nutcracker has a lot to offer in contrast to Balanchine’s distillation of Russian aesthetics. Even with techniques among this large cast erratic, particularly in the corp de ballet scenes, it should be noted that dance schools and companies in Russia have gone through drastic reduction of state sponsorship over the last 20 years and that is a classic Russian story for another cold winter’s dance night.

WorldofMusic

The Philadelphia Orchestra
Donald Runnicles, conductor
Johannes Moser, cello
Oct 16
It is hard to take your eyes off of Donald Runnicles when he conducts, he has a warm persona, his white hair curling out and arms lurching forward like he is hugging the orchestra.

He also brings an air of musical occasion and palpable connection with the musicians. His tempos are sharp and the orchestra cohesive, the famed Philly strings at their most dimensional.

In October, Runnicles was in Philly for two weeks of performances of Beethoven, Elgar, Brahms, Strauss and Mozart on the playlist.

Runnicles opened his mini-fest with Beethoven’s 8th Symphony eliciting the chamber music luster he brings to large symphonic works. A distinct translucence he sustains that illustrates the Beethoven’s inner drive, as well as the composition’s looming symphonic architecture.

Runnicles qualities of orchestral balance were so present in the sterling performance of Edward Elgar’s Cello Concerto with soloist Johannes Moser. Moser has a relaxed theatricality, but is altogether at one with the many technical demands of this piece. It was composed in 1918 at the end of WWI and Elgar was also recovering from ill health. There is an atmosphere of loss and sorrow, and its stirring eloquence unsentimental.

The sobering atmospherics give way to Elgar’s musical whimsy, maybe even the composer’s expression of joy having survived. Every implication of this piece, musically and philosophically, is fully bloomed in this performance. Elgar quicksilver cello lines, the strums, the whispering phrases and other effects, are not ornamentation. Johannes has stated as many have that he believes Elgar was writing a war requiem.

Moser’s is also at one with the full orchestra his head swings around to finish a fiery acceleration with the strings, or he leaned back to shoot a glance of appreciation with the interlocks with the lower strings. Philadelphia Orchestra seems to conjure a certain triumphal sound with Elgar; they made it a repeated showstopper last season.

Runnicles closer in the first concert was Brahms’ Theme of Joseph Haydn, Op. 56a which was a fine prelude to his imprint on the Brahms’ masterpiece Double Concerto performed the following week, with the orchestra’s concertmaster David Kim and principal cellist Hai-Ye Ni the soloists delivering a masterful performance.

Oct. 24

Runnicles, conductor
Hai-Ye Ni, cello
David Kim, violin

Kim versatile in almost every style, but with Brahms his command more muscled and his artistry more vivid. Ni has a warm, inviting tone that is all about technique and character of the music and she too, is in top form and together this is sterling Brahms. If any work takes the heavy romanticism associated with Brahms’ symphonic works, it is this concerto.

The opening basso string lines she plays with lusty sonority and edge. As lead players in the same orchestra, Kim and Ni bring so much to the technical artistry to this piece. A work not often played because of its demands, it was a triple virtuoso zone, because the orchestral side of this was just as impressive.

Also on the program Mozart’s Symphony no. 29, so fascinating for its structural innovations from an 18-year-old Mozart. Even though the 1st movement is one of Wolfgang’s most recognizable the whole work is rarely performed these days and the duality of the music’s sardonic esprit and solemn meditation as present as it is in Don Giovanni.

Runnicles’ again, masterfully contours the textures as a chamber piece and the orchestra delivers a performance that is joyously Mozartian. The maestro’s closer was a lusty showpiece performance of Richard Strauss’ Don Juan.

World of Music

The Philadelphia Orchestra
Donald Runnicles, conductor
Johannes Moser, cello
Oct 16
It is hard to take your eyes off of Donald Runnicles when he conducts, he has a warmth podium persona, his white hair curling out and arms lurching forward like he is hugging the orchestra.

He also brings an air of musical occasion and palpable connection with the musicians. His tempos are sharp and the orchestra cohesive, the famed Philly strings at their most dimensional.

In October, Runnicles was in Philly for two weeks of performances of Beethoven, Elgar, Brahms, Strauss and Mozart on the playlist.

Runnicles opened his mini-fest with Beethoven’s 8th Symphony eliciting the chamber music luster he brings to large symphonic works. A distinct translucence he sustains that illustrates the Beethoven’s inner drive, as well as the composition’s looming symphonic architecture.

Runnicles qualities of orchestral balance were so present in the sterling performance of Edward Elgar’s Cello Concerto with soloist Johannes Moser. Moser has a relaxed theatricality, but is altogether at one with the many technical demands of this piece. It was composed in 1918 at the end of WWI and Elgar was also recovering from ill health. There is an atmosphere of loss and sorrow, and its stirring eloquence unsentimental.

The sobering atmospherics give way to Elgar’s musical whimsy, maybe even the composer’s expression of joy having survived. Every implication of this piece, musically and philosophically, is fully bloomed in this performance. Elgar quicksilver cello lines, the strums, the whispering phrases and other effects, are not ornamentation. Johannes has stated as many have that he believes Elgar was writing a war requiem.

Moser’s is also at one with the full orchestra his head swings around to finish a fiery acceleration with the strings, or he leaned back to shoot a glance of appreciation with the interlocks with the lower strings. Philadelphia Orchestra seems to conjure a certain triumphal sound with Elgar; they made it a repeated showstopper last season.

Runnicles closer in the first concert was Brahms’ Theme of Joseph Haydn, Op. 56a which was a fine prelude to his imprint on the Brahms’ masterpiece Double Concerto performed the following week, with the orchestra’s concertmaster David Kim and principal cellist Hai-Ye Ni the soloists delivering a masterful performance.

Oct. 24

Runnicles, conductor
Hai-Ye Ni, cello
David Kim, violin

Kim versatile in almost every style, but with Brahms his command more muscled and his artistry more vivid. Ni has a warm, inviting tone that is all about technique and character of the music and she too, is in top form and together this is sterling Brahms. If any work takes the heavy romanticism associated with Brahms’ symphonic works, it is this concerto.

The opening basso string lines she plays with lusty sonority and edge. As lead players in the same orchestra, Kim and Ni bring so much to the technical artistry to this piece. A work not often played because of its demands, it was a triple virtuoso zone, because the orchestral side of this was just as impressive.

Also on the program Mozart’s Symphony no. 29, so fascinating for its structural innovations from an 18-year-old Mozart. Even though the 1st movement is one of Wolfgang’s most recognizable the whole work is rarely performed these days and the duality of the music’s sardonic esprit and solemn meditation as present as it is in Don Giovanni.

Runnicles’ again, masterfully contours the textures as a chamber piece and the orchestra delivers a performance that is joyously Mozartian. The maestro’s closer was a lusty showpiece performance of Richard Struass’ Don Juan.

BooksBooksBooks

Ludwig unplugged
Beethoven | The Man Revealed
By John Suchet

Beethoven The Man Revealed is John Suchet’s unconventional biography of Ludwig van Beethoven, that does indeed reveal the flawed, tragic man behind the iconic artist. Suchet acknowledges that much of this is well-trod material, from sources long out of print and has never been organized and told in a single modern volume. Suchet, a BBC classical radio host and Beethoven scholar, explains in his afterward to the book that his is not a bio for musicologists, but for the interested lay reader. Indeed, the composer‘s messy life is as dark, enigmatic and majestic as some of this music.

Beethoven was a tortured artist, egotistical, sometimes maniacal genius in very distilled terms. Almost all of Beethoven’s triumphs were accompanied by calamity or near disaster. Few people realize that he started to have trouble with his hearing while still in his 20s, was plagued with several health problems in his life and that he was a lonely man unlucky in love. The author gives a fascinating, if incomplete account, vis-à-vis the musical universe Beethoven created. Suchet deftly condenses the musicological aspects and makes it vital to the narrative of the composer’s life. Not a small feat.

Suchet’s is confident in reconstructing dialogues between Beethoven and some of his family members and musical contemporaries that fill in narrative gaps, sometimes with his own fertile imagination. Some of which, however authentic, can be read with caution, even skepticism.

In contrast, Suchet’s authority is in little doubt as he recounts, for instance, the raucous premiere of Beethoven’s 9th Symphony. Beethoven, by then was almost completely deaf, conducting the musicians and singers some of whom almost stormed out of the performance because of the unprecedented musical demands of the work. There even had to be a shadow conductor behind Beethoven, as insurance that it would come off, since Beethoven couldn’t reliably hear the musicians.

Beethoven volatile personality is front and center throughout the book, puncturing more romantic perceptions. Ludwig often acted out with vengeance when crossed. Beethoven was head of his blood family at a young age. He hated his father, a minor composer and musician, who became raging alcoholic to the extreme embarrassment of his son. His often toxic relations with his brothers continued through his life. After his brother Carl died, he tried cruelly took legal action to separate his wife Johanna from their son Karl. Beethoven used his clout to lay legal claim to his nephew as his own. Even though he cared for him financially, his tyrannical ways drove his nephew away..

Beethoven’s problems though, rarely interfered with his composing and as his fame grew through Europe, he was becoming a more and more isolated and eccentric celebrity. He became an object of ridicule for his unkempt appearance and erratic public behavior in Vienna. Adding to the tumult the fact that the city was repeated in the path of the Napoleonic wars and under repeated siege. Still Beethoven was visited by royals and connected patrons; as well as his musical contemporaries from Schubert to Haydn to Rossini. It is an amazing tale of a singularly brilliant career. Touching, incisive and in the end chapters, even symphonic, Suchet’s biography of Beethoven is engrossing and disquieting portrait of an elusive, brilliant and troubled artist.

JazzPhilly

Photo: Peter Lueders

Jon Batiste stops in Philly for Social Music</

Crossing musical borders in jazz and classical, blues, rap and R & B is composer-pianist Jon Batiste, the New Orleans, Julliard trained virtuoso who brings cross-cultural audiences together in the streets and in the concert hall.

Jon Batiste is under thirty and part of the new vanguard in jazz, but he sounds like he has been performing and creating music for much longer. He returns to the Kimmel Center this week for one night only with Jon Batiste and Stay Human that will cap off a month of jazz programming in April, which Philly designates as jazz appreciation month. After Philly, the group will perform at International Jazz Day in Newport, RI April 30 and at the New Orleans Jazz Fest May 3.

The bandleader spoke by phone from New York this week about the concerts “I love touring. The music has to go where you are inspired to go. It’s one of those things you can’t replace, the live experience,” he observes. It is the essence of what composer-pianist Jon Batiste calls ‘Social Music’ the title of the band’s 2013 recording.

Batiste is not only a gifted pianist; he is a singer with sublime jazz-blues phrasing for someone so young. He grew up as part of a famed musical family in a suburb of New Orleans, starting out with percussion instruments, At 11 his mother suggested he try piano. He studied at Julliard School in New York and has since won prestigious awards, and has performed in more than 40 countries. He is also artistic director-at-large for the National Jazz Museum of Harlem.

He recalls “loving” playing hear a few years ago as vocalist Cassandra Wilson’s pianist for her appearance in Philly on her Silver Pony tour. For his current concert, Batiste will be joined onstage by regular band members who are part of the new vanguard in jazz- alto saxophonist Eddie Barbash (alto saxophone), Ibanda Ruhumbika (tuba), Joe Saylor (percussion, Barry Stevenson (bass, banjo) and Jameson Ross (vocals). Ross also creates what the bandleader calls “atmospheric imagery.”

He described the playlist as “a mixture of material from Social Music, older stuff, then there is the unexpected the newest stuff that we’ve written and what happens with the interaction, the human exchange, with the audience in our shows, which could be anything,” he assures.

The Stay Human band members are close friends offstage, and says that the music “is definitely part of how we relate to each other as people. The musicians share the same philosophy that social music is the next phase in where we are going. My conception of music changes over time, it is beautiful to follow that path with brothers.”

He says young audiences are moving away from staid music categories as jazz and classical. “it’s normal for people to think of music and musicians in terms of genres and categories, because that‘s how we purchase our music. Music based on the genre system I think is changing now with streaming and things like that, putting all these different styles of music together in one place, so people are genre hopping whether they realize it or not, just by the nature of digital mediums now,” Batiste observes.

The Kimmel Center has been increasing their jazz programming and has hosted regular free concerts of jazz featuring salsa, Afro-Caribbean, big-bands, just to mention a few. Their current ‘jazz in residency’ series of programs features Philly-based trumpeter Josh Lawrence, saxophonist Bobby Zankel and percussionist Pablo Batista a that will culminate in performances of the completed work.

Jon Batiste and Stay Human on tour | Perelman Theater, Kimmel Center, April 25 |for a complete listing of jazz events go to http://www.kimmelcenter.org