Very quick bullet points on my 2011 Salzbourg stay

My day work has forced me to shorten my stay in Salzburg very significantly. I managed though to pack 4 performances in two days as well as see many friends from across the world and basically had a great time.

For the sake of swiftness, here are my quick takes on bullet point format just like last year:

• I love my blackberry ... It has something which Iphone afficionados do not have which is push technology (for the Iphone, you have to ask for your mail). So I got a mail informing me of the open rehearsal of the Rossignol/Iolanta open for booking and rushed to get tickets for family and friends. The Rossignol was somewhat tentative but the Iolanta, a one act Tchaikowsky Opera about a blind girl was simply stunning. Strong and varied music and vocal writing of the highest order. Netrebko sang the title role and gave one of her best performance I have had with her. Her tenor partner was P Beczala whom she shared a wonderful duo culminating with a genuine crescendo. There were three bass-barytones roles, each important and each getting a full aria. Of them, Alexey Markov is one to watch out for.
• After this, I have to confess being somewhat disappointed by the Salonen - Marthaler  "The Makropolous case". A Denoke has vocal chords made of steel and singing was very strong overall. The Orchestra played beautifully, perhaps too beautifully ... but the Marthaler staging did not work as his Katya did. Action was muddy with too many secondary characters disturbing the flow.
• Think of this, however. A friend told me that the Easter Festival Peter Grimes was far from being sold out whereas there were many "Suche Karte" on display for this more demanding work.
• Muti delivered his usual magic in the Verdi Requiem performance in the matinee concert. Wait, magic or craft ? Balance, color, rubatos, phrasing ... was present in ample abundance. So much to admire but a little less to experience. Stoyanova had an uneasy start but rose to her usual self, Borodina is impressive, ..., perhaps too much, Pirgu was a little light - is not this work a little too much for him, Abdrazakov was solid ( in the program notes, it was revealed that he is sponsored by the company that manaufactures his suits, no name there but does this really work ?). 
• Tons of applaudes. Muti knows exactly when to enter the stage a good 10 seconds after his soloists so that everyone can be aware of the specific greetings he gets. Also, when Karajan and Abbado played this work, were not there Austrian silence after this religious work ?
• I ended my 2 days with a concert by the ORF Radio Orchestra playing Hans Rott's Symphony. Yes, this work has been played in Salzbourg and deserves more hearing. For French readers, my comments on Concertonet.
• Needless to say, Salzbourg is much more than the music, it is the ability to see so many friends and take leisury time to discuss and enjoy their company. I hope I have more time next year.

Has Graham Vick struck again

Have a look at Milan's based Opera chic blog entry ... I do not wish to comment on what seem to be yet another attack on Israel made by someone who has probably never visited the place.

What I can comment is that I attended the production Vick did of the Magic Flute in 2005 at Salzbourg. It was as offensive as what he seems to have done for Rossini's Moïse. I took my kids there hoping to get them to like Opera. They hated it, especially the part when the animals are killed by Sarastro and Papageno is smoking pots ... (Yes ...) I will hate this producer until the end of my days for what he did to my family.

So no, I am not surprised, have made a point of avoiding any of Vick's work and feel vindicated based on what he is doing right now.

Dinu Lipatti

Alex Ross has found a marvellous interview of Jascha Horenstein on YouTube.

There exists three interviews of Dinu Lipatti with a delightful singing Romanian accent. It is so special to hear him speak. This however, is only in French but highly recommended.







The last one is particularly moving as it speaks about his health.Lipatti's record of Mozart 21st Piano Concerto and the 8th Sonata was the first black disc I ever bought ...

Have you seen a pianist named Kit Armstrong ?

Well, if not, then go to the movies or on line ...

And have a look at what Alfred Brendel is saying.

Concert Hall acoustics

Have a look at the lively blog of the Orchestre de Paris. It is in French but contains a very smart comment on the acoustics of the Vienna Musikverein: "One can hear every instrument, even in a fortissimo ... " (my translation ...).

This is a very important point raised by Christian Leblé..With the improvement of the Salle Pleyel, resident orchestras like the Orchestre de Paris and the Nouvel Orchestre Philharmonique dramatically improved their coherence, dynamic range and overall balance. On the other hand, I was living in London when the LSO moved fro the Royal Festival Hall to the Barbican and felt that something broke. Unfortunately, this can work both ways, up and down.

The Orchestre de la Suisse Romande which I cover for concertonet plays in Victoria Hall. It is a charming concert hall but a very narrow one where tuttis are muddled. It works fine say for a Chamber ensemble but saturates for a Mahler Symphony.

In such conditions, Orchestras cannot improve and it is no surprise that good orchestras thrive in superlative acoustics (Boston, Amsterdam ...).

Mason Bates in Chicago

I was glad to read from Andrew Partner's excellent Chicago based blog that Mason Bates is performed by the CSO and R Muti.

As per my previous post, this is a composer of talent and it is encouraging to read that he is being performed. We also need to hear his works in Europe but like new technology, things takes time to cross the oceans and reach the old world.

Mahleriana

Peter Davis in the NYT has an article on Mahler's time in New York.Universal edition is as usual a gold mine of fascinating information.

But for us in Geneva, Valery Gergiev and the LSO celebrated May 18 by playing the adagio of the 10th Symphony (as a substitution for a Mozart oboe concerto with an indisposed soloist) and gave a truly moving performance.

For another type of Mahler performance, Arte has put on the web another outstanding performance of the same work by the Berlin Phil and Abbado along with Das Lied with AS Von Otter and J Kaufmann. Gergiev led a more dramatic reading of the work (and the Berlin strings have slightly better intonation than the LSO if I may). A good example being at 36 mn where Abbado's last pizzicato is gentle whereas it was more menacing with Gergiev but rather than putting one versus the other, it emphasizes how much Mahler music can accommodate different approaches and how this has become part of all everyone respective musical worlds universally.