NEWS: Long Beach Symphony names Eckart Preu as next music director

By Robert D. Thomas
Music Critic
Southern California News Group

Preu-2016After a two-year-long search, East German native Eckart Preu has been named the eighth Music Director of the Long Beach Symphony Orchestra. He replaces Enrique Arturo Diemiecke, who resigned at the end of the 2013-2014 season.

Preu (whose name rhymes with “joy” — a singularly good omen for a conductor) signed a three-year contract effective with the 2017-2018 season when he will program and conduct all six classical series concerts, all youth concerts and one Pops concert annually. He will be Music Director Designate for the upcoming season and will lead the Feb. 4, 2017 in Long Beach’s Terrace Theatre, which will include performances of Debussy’s Prelude to the Afternoon of a Faun, Saint-Säens’ Danse Macbre, Dukas’ The Sorcerer’s Apprentice and Berlioz’ Symphonie Fantastique. INFO

Preu, who turns 47 on Thursday, has been Music Director of the Spokane (WA) Symphony since 2004 and of the Stamford (CT) Symphony since 2005. He will relinquish the latter role when he assumes the LBSO Music Director position in 2017.

Read Richard Guzman’s article in the Long Beach Press-Telegram HERE

The full LBSO media release follows:


LONG BEACH, CA, August 19, 2016 – Following a 2-year search that brought 9 guest conductors to the stage of the Long Beach Performing Arts Center, Long Beach Symphony proudly announces today that it has selected Eckart Preu (rhymes with “joy”) to take the helm under a 3-year contract beginning with its 2017-18 season.

Commenting on the decision, Symphony Board President, Irv Miller, said, “Eckart Preu’s execution of Tchaikovsky’s Symphony #4 at our June 4 Finale not only elevated the overall concert experience for our audience that night, but also excited our orchestra players. Maestro Preu’s genuine spirit of collaboration, partnership, and adventure makes us confident that we have identified a Music Director who can take our Symphony to the next phase of its development.”

Maestro Preu says he decided to accept the position with Long Beach Symphony “because of its pure excellence – an excellence that extends not only to the amazing quality of its musicians, but also to the excellence in how its staff and volunteers run the organization. He looks forward to getting to know the wider Long Beach community, including its inspired arts leaders, musicians, and supporters and relishes the opportunities that a community as large and impressive as Long Beach can bring.

When asked for comment on the appointment, Long Beach Mayor Robert Garcia expressed his approval saying, “The Symphony and the arts play a crucial role in our thriving community. The City of Long Beach wants to be among the first to welcome our talented new Maestro!

Maestro Preu will serve as Long Beach Symphony’s Music Director Designate during the 2016-2017 season, returning to Long Beach to conduct the Symphony Concerts for Young People on February 1 and 2, 2017 for over 12,000 Long Beach Unified 4th and 5th graders. Within that same week, he will conduct Berlioz’s magnificent Symphonie fantastique and Saint-Saens’ Danse macabre as well as Dukas’ classic, The Sorcerer’s Apprentice at the February 4, 2017 Classical concert at the Long Beach Performing Arts Center, Terrace Theater. Tickets will be released on sale on September 10, 2016. Maestro Preu will continue to serve as Music Director of the Spokane Symphony (WA), but will step down from his current position with the Stamford Symphony (CT) next year.

Commencing in the 2017-2018 season, he will take on his full time Music Director position, and will program and conduct all six Classical series concerts, all Youth Concerts and one POPS! concert annually.

Maestro Preu’s philosophy on classical music complements the demographic make-up and cultural vibrancy of the Long Beach community. Paralleling the Symphony’s current efforts to reach out to diverse segments of the City with its Sounds and Spaces program, Maestro Preu believes that classical music can be accessible and enjoyable for everyone.

Long Beach Symphony Executive Director, Kelly Ruggirello remarked that “in Eckart Preu, I have found a partner who shares a vision for a future that will deepen our programming, provide greater access to more residents, and further our artistic excellence.”

When he first began his tenure as Music Director of the Spokane Symphony, Maestro Preu led a night of cultural sharing through a Spokane Symphony performance with Spokane Tribal members. More recently, in March 2016, Maestro Preu collaborated with a local Washington state hip-hop collective, electro-pop duo, and singer-songwriters to mix their own original works with the Spokane Symphony’s performance of Peter and the Wolf. “The idea was to do something unpredictable, and to mesh things that, at first glance, don’t go together,” Preu said. “It’s getting down to the roots of music – we all play with the same notes, just in different ways and with different approaches. … It’s bringing all these genres together that usually don’t play in the same sandbox, and we basically just provide the sandbox.”

Eckart Preu was born in Erfurt, a town that was, at that time, part of the German Democratic Republic (East Germany). He and his older brother grew up with a musically-inclined father who started them on music lessons early in life. At age 10, they were enrolled in the Dresdner Kreuzchor (Dresden Boys’ Choir), one of the world’s oldest and most famous boys’ choirs and boarding schools. Preu studied there for 8 years, eventually becoming a soloist, rehearsal pianist and assistant conductor. Subsequently, he earned a master’s degree in conducting from the Hochschule fuer Musik in Weimar and then went to Paris for two years to study at the Conservatoire National Superieur de Musique, where he also served as Music Director of the Orchestre International de Paris from 1993-95.

Then in 1996, Preu won the National Conducting Competition of the German Academic Exchange Service, which afforded him the opportunity to come to the United States for graduate studies at the Hartt School of Music in Connecticut. Upon completion of his studies there, Preu became Assistant Conductor for the American Symphony Orchestra, a position he held from 1997-2004. During these years, he also held posts as principal conductor of the New Amsterdam (NY) Symphony Orchestra and associate conductor of the Richmond Symphony, among others.

In 2004, Preu decided to make a fresh start by moving to the state of Washington to accept the position of music director with the Spokane Symphony Orchestra. To welcome him to the area, the Symphony put up billboards around town bearing Preu’s image. As the story goes, a young woman who drove by took one look at his fetching visage and instantly decided that was the man she was going to marry. The rest, as they say, is history. Eckart and that same woman, his wife, Neeley, currently reside in Spokane with their two daughters, ages 8 and 5.

Though his rigorous schedule, community involvement and young family do not leave much time for R&R, when he does manage to carve out some time for himself, Preu seeks quiet. “I am around music all day, so at the end of the day, I relish quiet. It is sacred to me.” It is partly for this reason that he has recently taken up golf. He enjoys the peacefulness of the golf course and the opportunity to commune with nature. And, in seemingly diametric opposition to that, Preu also loves action movies!

• The LBSO has also rounded out its conducting roster for the upcoming season. Mei-Ann Chen, who has appeared with the Pasadena Symphony and Pacific Symphony locally, will conduct a program of Glink, Rachmaninoff and Respighi on Nov. 19, while Paul Polivnick will lead an evening of Beethoven, Lebrun and Dvorak on March 8. Full-season INFO.

(c) Copyright 2016, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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OVERNIGHT REVIEW: McGegan, L.A. Phil explore “Romantic”-style music at Hollywood Bowl

By Robert D. Thomas
Music Critic
Southern California News Group

McGegan-2016Nicholas McGegan (pictured right) has been coming to Hollywood Bowl as a valued guest conductor for 20 years and we have had the privilege of watching him grow during those two decades. Originally he was advertised as an early-music specialist and, indeed, his all-Handel concert Tuesday night reinforced that image.

However, in the past few years McGegan — especially in his role as Principal Guest Conductor of the Pasadena Symphony —has been pushing his own envelope, expanding his repertoire into the Romantic era, as last night’s program demonstrated.

On paper, the program of Weber’s Overture to Oberon,, Mozart’s Piano Concerto No. 20 in D Minor, K. 466, and Schumann’s Symphony No. 3 (Rhenish) would seem to have a foot in both camps but the performances placed it squarely in the Romantic style.

That emphasis was aided by two short video conversations between McGegan and Scott Alan, curator of Unruly Nature: The Landscapes of Théodore Rousseau, an exhibit of Rosseau’s paintings showing through September 11 at the J. Paul Getty Museum. In the paintings and commentary — think of them as “preconcert lecture light” — McGegan and Alan discussed the musical pieces that might have influenced Rosseau whose time (1812-1867) almost exactly coincided with Schumann (1810-1856).

The Weber overture proved to be a sparkling opening to the evening, although the video interview — which was played while the piano was being moved onstage for the concerto — focused more on Der Freischutz as opposed to Oberon. Nonetheless, high marks to Jeffrey Fair’s horn solos that opening the evening, Burt Hara’s clarinet solo, and the rhythmic precision of the entire string section.

In the video clip, McGegan encouraged the audience to remember the dark, forest paintings of Rosseau as it listened to the transition from the Weber overture to Mozart’s D Minor Piano Concerto, one of the darkest in the composer’s repertoire.

Ohlsson-2016After a summer that featured both Lang Lang and Yuja Wang, it was a pleasure to watch and hear Garrick Ohlsson’s performance last night. Unlike his younger counterparts, there is a sense of serene calm to Ohlsson (pictured Left), who sits quietly on the bench while he plays, just letting the music weave its own magic spell. This was especially true in the famous “Romance” middle section, but even in the outer movements Ohlsson continued to project a sense of stillness during his pristine runs, trills and cadenzas.

That atmosphere of serenity was even more apparent in Ohlsson’s exquisite rendition of Chopin’s Nocturne in F-Sharp Major, Op. 15, No. 2. For the second night in a row the Bowl seemed like an intimate concert hall with the skies opened to the heavens, a rare moment indeed (high marks, also, to Ohlsson for clearly articulating through a microphone the entire title of the Nocturne prior to playing it).

Despite the fact that this was Mozart, the concerto’s performance had a very “Romantic” feel to it. The orchestra was larger than what Mozart used and, of course, the Steinway grand on which Ohlsson played was a long way from the pianofortes that Mozart would have used when he first performed the piece in 1785.

However by the time of Beethoven — according to Susan Key’s program notes this was the only Mozart concerto Beethoven played in public — the piece would surely have sounded different and so it did last night. McGegan emphasized the work’s sweeping lines and dark textures, and the orchestra — with basses placed to the far right of the ensemble and the cellos directly to McGegan’s right — played with its customary level of excellence.

Schumann’s “Rhenish” Symphony — the subtitle refers to the fact that the composer had just moved to Düsseldorf, a city on the Rhine, in 1850 — continued the Rosseau-inspired theme.

In one sense, the piece looks backward — like Beethoven’s “Pastoral” Symphony, Schumann’s “Rhenish” has five movements. However, the work clearly introduces the “Romantic” symphonic concept to the world and McGegan’s take on the piece was, for the most part, straight forward in its concept.

In particular, he invested the fourth movement, Feirlich (“Solemn”) — inspired by the composer’s trip to the recently completed and majestic Cologne cathedral — with the proper sense of brooding awe, which provided a perfect contrast to his perky take on the concluding section. The Phil’s brass section — particularly the horns — were in fine form throughout the performance.

• On Sunday cellist Yo-Yo Ma and his Silk Road Ensemble returns to the Bowl for a program of music spanning the globe — no surprise, since the ensemble is comprised of performers and composers from more than 20 countries. INFO

• On Tuesday, Ken-David Masur — son of Kurt, former Music Director of the New York Philharmonic and Leipzig Gewandhaus Orchestra — makes his Bowl debut in a program of Beethoven (Overture to Fidelio and Symphony No. 5 — and Korngold’s Violin Concerto with Gil Shaham as soloist. Masur is replacing Joana Carneiro, who was originally scheduled to conduct. INFO

• Then on Thursday, Bramwell Tovey returns for the first concert in a two-week stint on the podium, bringing a program of rarely performed movie music by Bernard Hermann, Leonard Bernstein, and George Gershwin, along with Pas de deux, a new double concerto by James Horner to be played by Mari and Håkon Samuelsen, the Norwegian brother/sister duo that commissioned the piece.

Tovey — the British-born conductor who in 2018 completes a 19-year tenure as Music Director of the Vancouver (BC) Symphony — once held the title of Principal Guest Conductor at the Bowl. In reality, he still, has that now untitled position since he is the only conductor to lead more than a week of Bowl concerts. Expect some witty commentary along with the music. INFO

• McGegan will conduct two concerts with the Pasadena Symphony in the upcoming season at Ambassador Auditorium, leading a Baroque program on January 21 and a Schubert-Mozart-Mendelssohn program on March 18. INFO

(c) Copyright 2016, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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OVERNIGHT REVIEW: Susan Graham stars in Handel night at Hollywood Bowl

By Robert D. Thomas
Music Critic
Southern California News Group

GrahamIn an article in the Hollywood Bowl program magazine, Nicholas McGegan — who is celebrating 20 years of conducting at the Bowl — told Dennis Bade: “We settled on Handel for this summer once we confirmed that Susan Graham was available.”

Good thinking, Nick. At age 56 the Roswell, NM native (pictured left) is at the peak of her career, which includes roles ranging from Monteverdi to Jake Hegge’s Dead Man Walking. She brought to the Bowl last night arias from two Handel operas and sang them magnificently. In the process she managed to make the cavernous Bowl seem like an intimate recital hall. It’s a shame more people didn’t attend.

Graham looked as gorgeous as she sang, wearing a multi-colored robe over a simple black dress in the first half when she sang Scherza infida and Dopo notte from Ariodante. Post intermission she switched to a stunning, shimmering turquoise robe and sang Ombra a mai fù and Se Bramate from Xerxes.

Throughout the performances, she held the audience spellbound with her amazing runs and melismas, but she did more than simply sing the parts. In the first half she was the title character, displaying a full range of emotions from despair to laughter; in the second half, she laid into Se Bramate with all the anger she could bring to a non-staged performance. However, for this listener, the highlight was the amazing pianissimo she dared to float at the beginning of Ombra a mai fù, the note hanging in the night air as clearly as if she was singing in Walt Disney Concert Hall.

McGegan and the Los Angeles Philharmonic accompanied Graham sensitively although — truth be told — she was, in every sense, the central focus. The ebullient McGegan surrounded Graham with several well-known Handel works, taking full advantage of 79 voices of the Los Angeles Master Chorale in the opening work, Zadok the Priest (aka Celebration Anthem No. 1). The Chorale sang superbly and the amplification was so much on the singers as to virtually obliterate the orchestra, which was just fine by me.

The first half closed with Awake the Trumpet’s Lofty Sound from Samson, which found the chorus playing off beautifully against Principal Trumpet Thomas Hooten, although the work was so short that the audience didn’t realize it was over until McGegan turned around and indicated that it was okay to clap, which they did.

McGegan and the orchestra offered a spritely performance of The Arrival of the Queen of Sheba from Solomon to bring Graham onstage for her first-half numbers. Post intermission, McGegan used breathless tempos in the Suite No 2 from Water Music and Music from the Royal Fireworks, which the orchestra handled with its customary aplomb.

In past years, actual fireworks have accompanied that latter piece but, given the high fire danger and with news of the I-15 fire on people’s minds, it was probably just as well that the Phil elected to eschew the pyrotechnics. No need to repeat the premiere performance on April 27, 1749 when a 100-foot-high and 400-foot long tower burst into flames, causing the crowd to panic with, reportedly, at least two people killed.

Instead, McGegan closed the evening by leading the orchestra and Master Chorale in a lightning-fast rendition of the chorus, Hallelujah, from Messiah. Only ensembles as great as the Phil and Master Chorale could have handled these tempos, but McGegan added some nice dynamic layering to the performance just to keep everyone on their toes.

• Tomorrow’s program features McGegan leading the LAPO in Weber’s Oberon overture and Schumann’s Symphony No. 3 (Rhenish), along with Mozart’s Piano Concerto No. 20, K. 466, with Garrick Ohlsson as soloist. The program is a collaboration with the J. Paul Getty Museum, which is holding a retrospective of paintings by Théodore Roisseau through Sept. 11. Videos created in conjunction with The Getty will introduce much of the music. INFO
• On Sunday cellist Yo-Yo Ma and his Silk Road Ensemble returns to the Bowl for a program of music spanning the globe — no surprise, since the ensemble is comprised of performers and composers from more than 20 countries. INFO

(c) Copyright 2016, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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OVERNIGHT REVIEW: Pianist Francesco Piemontesi debuts at Hollywood Bowl

By Robert D. Thomas
Music Critic
Southern California News Group

Piemontesi_2016Francesco Piemontesi made a sparkling Los Angeles Philharmonic debut last night at Hollywood Bowl. Photo by Nikki Thomas.

Francesco Piemontesi. Remember the name.

Under the less-than-ideal conditions ever present in Hollywood Bowl (lack of rehearsal time, outdoor amplification — although the sound engineers were in fine form last night — aerial intrusions —including a flight directly over the bowl — rolling wine bottles, etc.) Piemontesi offered a performance as soloist in Beethoven’s Piano Concerto No. 4 that made even someone who has heard this piece dozens of times in performance sit up and take notice.

Born in 1983 in Locarno, Switzerland, Piemontesi sits in an unassuming manner at the keyboard (the antithesis of Lang Lang, to name but one). He counts as his mentors Murray Perahia, Cécelia Ousset, Alexis Weisenberg and, in particular, Alfred Brendel who, says Piemontesi, taught him “the love of details.”

Those influences were particularly evident in his limpid tone and in the grace and sensitive musicality he brought to the lyrical moments of this ground-breaking concerto, including the trills and runs that permeate much of the work. However, even in the bravura portions of this work there was a genuine sense of musicality to the performance. Rarely has the Bowl’s Steinway sounded so elegant. Someone needs to get Piemontesi back here — and indoors — quickly.

In response to a sustained ovation (lengthy, even by Bowl standards) and at Guest Conductor Andrew Manze’s urging, Piemontesi offered a graceful account of a work that a colleague identified as Au lac de Wallenstadt from the Suisse section of Liszt’s Années de pèlerinage. Throughout its gentle elegance my mind flashed 40 years to when I first Murray Perahia in a solo recital — highest praise, indeed.

Manze and the Los Angeles Philharmonic offered vigorous, yet sensitive support of Piemontesi. We would get a better take on Manze from their performance of Schubert’s Symphony No. 9 (“The Great”), which concluded the concert.

Manaze-2016At age 51 Manze (pictured left) is in that “no-man’s land” for conductors. He is too young to be thought of as one of the “old guard” (e.g., Riccardo Muti, Daniel Brenboim) but he’s too old for orchestras that are enamored with the marketing flash and sizzle of younger conductors such as Mirga Gražinytė-Tyla, Pablo Heras-Casado and — yes — Gustavo Dudamel.

Balding and bespectacled, Manze looks like a genial professor and scholar (both of which he is). He is a former top-flight violinist who cut his conducting teeth in period-performance music, first as Associate Conductor of the Academy of St. Martin-in-the-Fields and then of The English Consort.

He is quietly building his resume (and expanding his repertoire) with provincial European orchestras, including the Helsingborg Symphony in Sweden from 2006-2014 and since then as Principal Conductor of the NDR Radio-Philharnonic in Hannover. Think of him as a musical “cousin” to another British string player (in this case, a cellist) turned “under the radar” conductor: David Lockington, now Music Director of the Pasadena Symphony.

With Gustavo Dudamel leading only about 35% of LAPO concerts during any one season (typical for music directors of major orchestras these days), having a roster of solid, inspiring guest conductors is a must. Manze appears to be one of those.

He made his L.A. Phil in Feb. 2015 in a Haydn-Mozart concert in Walt Disney Concert Hall and his concert on Tuesday night in the Bowl was all-Mozart. Thus, last night’s program of Beethoven and Schubert can be termed pushing the envelope, somewhat.

Manze led an exuberant, vigorous account of Schubert’s Ninth and the orchestra responded with first-rate playing throughout, with particular shout-outs to the brass and to Oboeist Anne Marie Gabriele. Manze’s period-performance background was evident in his brisk, no-nonsense tempos led with a minimum amount of rubato. This performance of a work probably completed in 1826 looked backward to Beethoven, rather than forward to Brahms and Schumann, whose symphonic works were yet to come, which is a perfectly reasonable and enjoyable approach to take.

• Speaking of conductor moving beyond their perceived specialty, Nicholas McGegan, Music Director of the Philharmonia Baroque Orchestra in San Francisco and Principal Guest Conductor of the Pasadena Symphony, will be on the Bowl podium Tuesday and Thursday.

Tuesday’s all-Handel program features, the LAPO, mezzo-soprano Susan Graham as soloist and the Los Angeles Master Chorale. INFO

By contrast, Thursday’s program features Weber’s Oberon overture and Schumann’s Symphony No. 3 (Rhenish), along with Mozart’s Piano Concerto No. 20, K. 466, with Garrick Ohlsson as soloist. The program will be a collaboration with the J. Paul Getty Museum, which is holding a retrospective of paintings by Théodore Roisseau. Videos created in conjunction with The Getty will introduce much of the music. INFO

• On Aug. 21 cellist Yo-Yo Ma and his Silk Road Ensemble returns to the Bowl for a program of music spanning the globe — no surprise, since the ensemble is comprised of performers and composers from more than 20 countries.

• It would have been fun to meet Piemontesi. My wife and I have made several trips to his hometown, which is just north of the Italian border (thus, his Italian name) on the northern edge of Lake Maggiore (Lago Maggiore). We first visited when we were doing a Eurail trip through Europe and journeyed south through the Gotthard Pass Tunnel (the old one, not the one recently opened) to escape a rainy day in Lucerne. We were enchanted and returned several times to visit, so reading of Piemontesi’s hometown brought back a lot of pleasant memories.

(c) Copyright 2016, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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OVERNIGHT REVIEW: Dudamel, the Phil and dancers perform Tchaikovsky at the Bowl

By Robert D. Thomas
Music Critic
Southern California News Group

Every concert at Hollywood Bowl involves a roll of the dice because elements not present at the Los Angeles Philharmonic’s indoor home, Walt Disney Concert Hall, often intrude at the Phil’s venerable outdoor venue. These vagaries include — among other things — weather, limited rehearsal time, adjusting to guest conductors quickly, aerial intrusions, and amplification.

Consider that latter element, for example. Thursday night I and others noted that the sound system, which has been mostly top-notch during the first four weeks of the Bowl’s classical programs, seemed out of sorts, distorting the brass sounds particularly. I wrote that this might have occurred, in part, because the orchestra seemed to be pushed farther back into the shell to accommodate the ballet floor installed for Stravinsky’s The Firebird.

However, last night — the first of two nights where dances from Tchaikovsky’s Swan Lake were the center point, figuratively if not actually, of the program and the orchestra was in the same location as Thursday — the sound system (and the folks operating same) were back to the high levels (pun intended) of the first eight concerts.

Friday’s high quality was undoubtedly aided by the fact that Gustavo Dudamel, the Phil’s music and artistic director, was back on the podium for his last program of the Bowl season. No offense to Ben Gernon, the British prize-winning conductor who makes the now-35-year-old Dudamel seem like a grizzled veteran, and who conducted a difficult program with aplomb Thursday night. It’s just that the Phil always elevates its playing another level when Dudamel bounces onto the podium — call it from A to A+.

Dudamel, of course, has Latin American music embedded in his DNA and is a Mahlerian of the highest order, but he seems to most enjoy conducting the music of Tchaikovsky. There’s a different swagger to Dudamel’s beats and gestures and his beaming smile is more infectious throughout the orchestra’s playing of this music, no matter the quality of the score.

This was immediately evident last night in Capriccio Italien, which opened the evening. Written in 1879 when Tchaikovsky was in Rome, the piece is a pastiche of Italian folk and carnival tunes with the composer’s sheen running throughout. Last night, the Phil’s strings ranged from crisply crackling incision to sweeping, lush tones, and the brass were beautifully burnished throughout the performance.

Dance has been center stage for each of the classical programs this week and last night it was Swan Lake that held that spot. In his program notes, Howard Posner wrote, “For more than a century Swan Lake has been the ballet, the source of the visual clichés that say ‘ballet’ to the non-ballet public.” Perhaps, although I think most Americans would vote for The Nutcracker and Sleeping Beauty for that role, in part because of Walt Disney’s movies Fantasia and Sleeping Beauty.

Nonetheless, even to non-ballet lovers (of which I am one), the dancing from four members of the American Ballet Theatre last night was mesmerizing, particularly the work of Hee Seo and Corey Stearns in the White Swan pas de duex in the first half, which reminded me of the sort of breathtaking moves we see during televised Olympic ice skating routines.

Gilliam Murphy and Alexandre Hammoudi were nearly as impressive in the Black Swan pas de deux in the post-intermission program, although — as with The Firebird Thursday night, I will leave it to others more versed in ballet to make definitive judgments about the quality of the four dancers.

It should also be noted that, as was the case Thursday night, the variable interior lighting in the Bowl shell (blue and red hues last night) provided different effects on the large video monitors to the side of the shell than we saw onstage, although the variance was not as pronounced as it was for The Firebird.

Dudamel and the orchestra accompanied skillfully. In particular Dudamel was noticeable (actually unnoticeable would be a better adjective) because of how little podium choreography he provided, leaving the focus on the dancers. The orchestra’s instrumental portions were exemplary.

The evening ended, of course, with the 1812 Overture, or as John Mangum noted in the printed program: The Year 1812, a Festival Overture to Mark the Consecration of the Cathedral of St. Stephen.

Although I was at the first “Tchaikovsky Spectacular” concerts in 1969 (Zubin Mehta conducted), it’s been several years since last attended this program. The most obvious difference was that members of the USC Trojan Marching Band paraded out onto the curved back row of the first boxes (which was originally a reflecting pool) to play at the conclusion of the piece. Two band conductors synched admirably well with Dudamel, the sound was impressively balanced, and the pyrotechnics by Souza were — as always — impressively choreographed.

It could only happen at the Bowl, and a second performance takes place tonight.

• The second half (actually second 60%) of the season begins Tuesday and Thursday when early-music specialist Andrew Manze takes the Bowl podium. Tuesday’s concert is all-Mozart (INFO), while Thursday’s program pairs Schubert’s Symphony No. 9 (“Great C Major”) with Beethoven’s Piano Concerto No. 4, with Francesco Piemontesi making his LAPO debut as soloist (INFO).
• Although the FAA seems to have done a good job getting the word out to fliers about avoiding the Bowl on concert nights (the giant crisscrossed search lights would be hard to miss), one obnoxious helicopter either hasn’t gotten the word, blithely ignores it, or doesn’t realize that helicopters are much louder than small planes. I’m glad I don’t live under his or her flight path!
• One other kvetch: people who are in the front rows of the stacked parking aisles need to remember that when they take an inordinately long time to reach their cars, that dalliance makes it very difficult for those behind them to leave (although last night’s auto choreography was impressive in its own right). Last night I definitively would gotten home faster if I had taken Metro (see my post from two weeks ago on this subject HERE).

(c) Copyright 2016, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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