Beauty & Tragedy With the Vienna Philharmonic Orchestra

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Parent Category: Film and the Arts

Category: Reviews

Published on Tuesday, 01 March 2022 21:37

Written by Jack Angstreich

 Conductor Yannick Nézet-Séguin and Pianist Seong-Jin Cho with the Vienna Philharmonic Orchestra. Photo by Chriss Lee

At Carnegie Hall, on the evening of Friday, February 25th, I heard a magnificent concert—the first of three on consecutive dates—devoted to the music of Sergei Rachmaninoff given by the outstanding Vienna Philharmonic Orchestra under the marvelous direction of Yannick Nézet-Séguin, replacing Valery Gerigiev, who could not attend on account of the current Russia-Ukraine conflict.

The program opened beautifully with an impeccable version of the celebrated Piano Concerto No. 2, here played with consummate artistry by Korean soloist Seong-Jin Cho, replacing Denis Matsuev who also could not be present because of the political situation. The lyrical first movement, like the work as a whole, is an expression of the purest Romanticism while the ensuing Adagio is even more inward—solemn, plaintive but with turbulent passages. The finale is melancholic but also frolicsome by turns and features march-like rhythms and soaring melodies but concludes triumphantly. The audience rose to applaud the performers. Cho performed an exquisite encore: Peter Ilyich Tchaikovsky’s October ("Autumn Song") from The Seasons.

The second half of the event was even more rewarding, with a fully confident realization of the extraordinary Symphony No. 2. The Largo begins gravely but quickly becomes passionate, even dramatic, in character, although with introspective moments. The following Allegro molto is even more suspenseful, but also suffused with longing, although it ends quietly. Most sumptuous of all is the emotional Adagio while the Allegro vivace is enchanting, if ultimately exuberant. The artists received an enthusiastic ovation.

The following day, on February 26, brought the next day of the stunning ensemble. The remarkably coherent program of lush orchestral music began magnificently with a flawless account of Claude Debussy’s glorious Prelude to the Afternoon of a Faun, one of the most perfect works ever written.The conductor memorably displayed superb control of tempo. Almost as impressive was Maurice Ravel’s Daphnis and Chloe Suite No. 2. (Several years ago at Alice Tully Hall, I heard Nézet-Séguin lead the Juilliard Orchestra in a ravishing performance of the complete ballet score.) The opening Daybreak movement’s ecstatic atmosphere is strongly reminiscent of the ineffable qualities of Debussy’s Prelude while the ensuing Pantomime is more programmatic in character and less sustainedly voluptuous in its scoring across its length. The concluding Danse générale is propulsive, dramatic and suspenseful with a stunning close that drew ardent applause.

The second half of the event was comparably exciting with a spectacular rendition of Nikolai Rimsky-Korsakov’s brilliant, sumptuous fantasia, Scheherazade, which is immensely evocative, exceedingly Romantic and exceptionally coloristic with moments of shimmering intensity and is notable for its sensuous Orientalism. Igor Stravinsky’s early ballet scores have conditioned me to experience this music as their precursor. The piece builds to a wondrous, breathless climax with a magical, serene denouement that elicited a standing ovation.

On the following afternoon, the artists returned for a terrific concert of Russian music beginning with an astonishingly lucid reading of selections from Sergei Prokofiev’s magisterial ballet score, Romeo and Juliet, including the following episodes: the unforgettable Montagues and Capulets; Juliet as a Young Girl; Scene; Friar Laurence; Minuet; Masks; and the stunning Romeo at Juliet’s Grave.

The second half of the program was also enthralling: a sublime performance of Peter Ilyich Tchaikovsky’s monumental Pathétique Symphony. The brooding Adagio introductionto the first movement quickly leads into a passionate Allegro with a famous and haunting second theme. The second movement is one of the loveliest of the composer’s numerous exquisite waltzes but is not without its melancholy aspects. The dazzling, ultimately triumphant March of the third movement was continued without pause by the moving finale which was imbued with a deep sense of longing, even despair. Appropriately, a minute of silence for the people of Ukraine was observed before another appreciative ovation. The next appearance of these incomparable musicians is eagerly awaited.

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