SEEN AND HEARD INTERNATIONAL

Berlioz, Dutilleux, Duparc, Debussy: Renée Fleming (soprano), James Levine (conductor), Boston Symphony Orchestra, Carnegie Hall 3.12.2007 (BH)

Berlioz: Orchestral excerpts from Roméo et Juliette,
Dramatic Symphony, Op. 17 (1839)
Dutilleux: Le Temps l’Horloge, for soprano and orchestra (2006-07; New York premiere)
Duparc: Four Songs with orchestra (1897-1912)
Debussy: La mer (1903-05)

I prefer time when it shows itself
Rather than passing among us noiselessly
Like a thief in the night.
(From “Le Temps l’Horloge” by Jean Tardieu)

I wish Renée Fleming would do even more contemporary music, since projects like this Dutilleux premiere really suit her.  Scarcely nine minutes long, L’Temps l’Horloge (Time and the Clock) uses the title poem from Jean Tardieu’s Plaisantineries, “Le Masque” from his Histoires obscures, and ending with “Le Dermier Poème” by Robert Desnos—all small diamonds.  With his characteristic attention to detail and color, Dutilleux has crafted a small classic, and Ms. Fleming couldn’t have been more luxuriously suited to them.  The large orchestra is deployed sparingly, with transparent textures melting into unexpected solos, such as the harpsichord in the first poem, or the striking accordion appearing in the last.  Delicacy reigns throughout, and in the best of all possible worlds, James Levine and the Boston Symphony Orchestra would have repeated these otherworldly masterworks on the spot.  I hope Fleming records them.

Touchingly, the 91-year-old composer was on hand from Paris, and as Fleming and Levine stood applauding him at the edge of the stage, he finally ambled up, seeming slightly nonplussed when he turned to face the audience.  But from the cheers raining down, not to mention later comments collected, the piece was the undisputed hit of the evening.

Ms. Fleming returned later for four exquisite songs by Duparc, starting with the shimmering “L’invitation au voyage,” drenched in a nostalgic haze of strings and ending in radiance.  “Extase” showed that James Levine remains a singer’s best friend, aside from the orchestra’s horn section that glowed during “a sleep as sweet as death.”  Muted trumpets provided atmosphere to open “Le manoir de Rosemonde,” as well-gauged as the strings that deftly closed it.  Again, Fleming provided just the right amount of perfume (meaning, just a little) that these require.

The program opened with three orchestral excerpts from Berlioz’s Roméo et Juliette, showing Levine’s wondrous ability with balance.  “Festivities at the Capulets” fairly exploded with color, and in the gentle “Love Scene” the sheer tone of the ensemble said “ardor.”  And the “Queen Mab Scherzo” had the Boston strings showing their whisper-quiet harmonics.

By the time we reached the end of the program, Debussy’s La mer, I allowed a few minutes’ reflection on the orchestra’s glorious versions of this work with Pierre Monteux and Charles Munch.  Reminders of these sensuous roots returned over and over, all evening, and it is hard to overstate the wondrous state of this distinguished ensemble these days.  That said, Levine could have perhaps allowed all onstage to indulge in a little more ecstasy during the voyage.  On its own terms it was immaculately played, but a bit more playful salt spray might have been even more memorable.

Bruce Hodges