Stravinsky, Debussy and Prokofiev: London Symphony Orchestra, Avgust Amonov, (tenor), Valery Gergiev (conductor), Barbican Hall, London 29.03.2007 (AO)

Stravinsky: Symphonies of Wind Instruments

Debussy: La Mer

Prokofiev: Seven, they are seven

Debussy: Prelude à l’aprės-midi d’un faune

Stravinsky: The Rite of Spring

This blockbuster programme was designed for high profile maximum impact.  These are all high voltage, showcase pieces, guaranteed to thrill an audience.  It is a good thing, because programmes like this will have an impact even on people who don’t listen to much classical music.  The concert was recorded and is being broadcast on BBC Radio 3 until Friday 7^th April.  It will also be shown on BBC TV 4.  Hopefully, too, a CD will be released in due course.  You can bet it will sell, and reach an enormous audience.  If it is released on the LSO’s own imprint, it would be wonderful, because it’s about time that musicians got a bigger share of the marketing cake, and this is an orchestra that deserves the boost.

Music like this is thrilling even when played by less than stellar performers – and the LSO is most definitely “a good band’ and Valery Gergiev a man for huge, dramatic statements. He is charisma personified.  By sheer animal magnetism, he seems to electrify audiences and propel them into excited anticipation.  Even when Gergiev isn’t at his best, he can still pull off a performance that will arouse and entertain, even if it doesn’t contain much insight or innovative depth.  Charisma on this level goes a long way.

Perhaps that’s Gergiev’s secret, since he’s the ultimate jet set commuter, committed all over the world. He’s an inspiring organiser as well as a conductor.  His timetable must be packed.  Whether it allows for detailed rehearsals and introspective contemplation, I don’t know.  Sheer force of personality seems sufficient, though, since he conducts sophisticated orchestras that don’t need to be spoon-fed.  The LSO, and London orchestras in general, have a reputation for being able to adapt quickly to conducting style. For example, Stravinsky titled his Symphonies for Wind Instruments in the plural, to emphasise its intricate textures.   The soloists here were so good that the lack of definition overall wasn’t too disappointing.  With Debussy’s La Mer, Gergiev seemed more focussed.  This is surprisingly cinematic music, so a cinematic approach is totally in keeping.   Gergiev highlighted the sweeping, arching lines as if he were shooting it with a moving camera. This was truly a “panorama” perspective, highlighting the wide-angle horizons this music seems to evoke.  Pity about the close-ups.

Much more satisfying, though, was the Prokofiev cantata, Seven, They are Seven.  It’s rarely performed because it requires full male and female choirs, a huge orchestra and a tenor who can cope with vocal extremes – yet lasts barely seven minutes.  The poem is based on an inscription from ancient Mesopotamia about seven evil spirits unleashed upon the world. At last Gergiev was in his element.  Managing such vast forces takes tremendous skill, particularly as the shifts in focus are sudden and energetic.  He clearly knows the piece intimately, and has worked with Avgust Amonov, the soloist, presumably on the same piece.  Extra microphones were placed around the percussion, so the recording will capture the detail more dramatically.  In this case, it’s a good thing because the cantata needs explosive treatment.  This was Gergiev at his best - gut wrenchingly passionate.

Gergiev could safely assume that the audience was familiar with Debussy’s Prelude à l’aprés-midi d’un faune. It was beautifully played, if perhaps without the character Gergiev can bring at his most inspired. The star here was the guest principal Lorna Magee, who infused the flute solo with sensuous grace.  Her playing made me think of Nijinsky, at once erotic and apprehensive, as he danced the part.

Only an emotional zombie could not to be affected by The Rite of Spring.  It didn’t provoke a riot at its premiere for nothing.  I’ve even enjoyed it played by amateurs – which the LSO most certainly are not.  What was interesting about this particular performance is how it was coloured by the cantata that preceded it on the programme, though was written several years later. Prokofiev sets his apocalyptic vision with a savagery that makes you appreciate the different aspects of the Rite of Spring.  Seven is unmitigated menace.  The Rite, however, refers to ancient Slavic earth myth.  The sacrifice is meant to ensure fertility, and the continuation of life.  Hence the lyrical bassoon theme that sets the Rite in motion.  The sensitive blending of timbres is important too, as are the “layering” effects in the orchestration, and Gergiev doesn’t simply go for shock value, but knows that this piece is drama par excellence.  With a flourish of his hands, he waves at the horn section, and all seven players at once hold their instruments aloft.  Later, in the final section, Gergiev stabs the air, his forefingers pointed potently as if his very hands had become guns, blazing at the music. 

This performance was great fun, but wasn’t one to listen to for specially subtle insights.  Indeed, it would have been a disadvantage to listen with a score.  It would probably even have been more exciting for those relatively new to the music, and why not? Classical music needs audiences of all kinds, and this was an excellent introduction.  .  For any orchestra, choosing a conductor is a major artistic statement, because so much rests on the relationship.  It’s not at all something done without knowledge or consideration.  Gergiev’s many other commitments might in theory pose problems, but the LSO is a sophisticated orchestra perfectly capable of knowing what is wanted. Gergiev and Harding are masters of their respective strengths, so the combination has artistic merit.

 

Anne Ozorio