SEEN AND HEARD INTERNATIONAL

Schubert: Symphony No. 8, “Unfinished”

R. Strauss:
“Das Bächlein," Op. 88, No. 1
"Ich wollt’ ein Sträusslein binden," Op. 68, No. 2
"Allerseelen," Op. 10, No. 8
"Zueignung," Op. 10, No. 1
"Morgen," Op. 27, No. 4
"Ständchen," Op. 17, No. 2
"Wiegenlied," Op. 41, No. 1
"Amor," Op. 68, No. 5
"Grossmächtige Prinzessin" from Ariadne auf Naxos
Encore: "als ein Gott kam jeder gegangen" from "Grossmächtige Prinzessin" from Ariadne auf Naxos

Beethoven: Symphony No. 5

For this immensely satisfying concert at Carnegie Hall with the MET Orchestra, James Levine enlisted Diana Damrau, whose light, agile voice has a range enabling her to field the climactic notes in Zerbinetta’s aria from Richard Strauss’s Ariadne auf Naxos, “Grossmächtige Prinzessin,” with uncommon ease. On this occasion she performed it with such zest, humor and utter confidence that the audience went a bit bananas—so much that she and the musicians repeated a portion, “als ein Gott kam jeder gegangen,” as an encore, with humor to spare. In her floor-hugging, kaleidoscopic dress (the same as on the cover of her recent recording), Damrau slid sideways, up onto the podium until she was right up in Levine’s face, ending the reprise about six inches from his ear. Before this showpiece, she did a gorgeously chosen Strauss set, with highlights “Zueignung” and “Morgen.” True, some of Strauss’s luscious, piled-up orchestrations dwarfed her, and some listeners probably prefer these done with only piano accompaniment. But the drama of the orchestral versions remains seductive.

The afternoon began with a silken Schubert “Unfinished” Symphony, and I’ll be damned, if Levine and the musicians didn’t give it the attention it sometimes doesn’t receive. As one musician friend mentioned, the piece is not terribly difficult to play, which is why it shows up in the repertoire of schools and music camps around the world. Many professional musicians are perhaps over-familiar with the piece, which can lead to a bit of ennui, but not here. With sounds like ancient walls groaning, the double basses began, with the rest of the strings following in ardor, and Levine’s sensitive phrasing made the composer’s long breaths sing out. I confess that I hadn’t been looking forward to hearing this, particularly, but this performance, taking nothing for granted, made me eat my words.

But believe it or not, it was the ubiquitous Beethoven Fifth Symphony that has been ringing in my ears for two days after, and it will be hard to imagine a better-played, more incisive version happening any time soon. Bolting out of the gate with his starting tempo, Levine showed exactly what kind of perpetual motion machine this piece can be, with a muscular, take-no-prisoners approach. One friend had joked, “It’s going to be loud,” and yes, it might have been the punchiest reading I’ve heard in awhile, but there were plenty of more reserved, thoughtful moments. All in all, Levine’s propulsive rhythmic drive combined with sumptuous orchestral playing (such as spectacular woodwind solos), to produce results that belied the musicians’ demanding schedule in the opera house. This was one to treasure.

Bruce Hodges