OVERNIGHT REVIEW: Esa-Pekka Salonen and Los Angeles Philharmonic premiere Hillborg’s “Sirens” at Walt Disney Concert Hall

By Robert D. Thomas

Music Critic

Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily



Los Angeles
Philharmonic; Esa-Pekka Salonen, conductor

Beethoven: Leonore Overture No. 2; Piano Concerto No. 2 (Emmanuel
Ax, soloist)

Hillborg: Sirens (Hila
Plitmann and Anne Sofie von Otter, soloists; Los Angeles Master Chorale)

Friday, November 25, 2011 Walt Disney Concert Hall

Next concerts: Tonight at 8; tomorrow at 2 p.m.

Info: www.laphil.com



Esa-Pekka Salonen, who was the Los Angeles Philharmonic’s
music director from 1992-2009 and is now its conductor laureate, returned home
to Walt Disney Concert Hall (which he was instrumental in getting built) for
the first of two programs this season. During both weeks, he’s leading a world
premiere — last night it was Sirens, a
33-minute piece by Swedish composer Anders Hillborg. Next week it’s the
recently discovered prologue to an unfinished Shostakovich opera (more in Hemidemisemiquavers below).


Sirens is based on
a section of Homer’s The Odyssey, although
in the preconcert lecture Hillborg revealed that he composed some of the music
first and then found a text that seemed to fit what he had written. As the
composer explained in the program magazine: “In Greek mythology, the Sirens
were dangerous bird-women, portrayed as seductresses who lured sailors with
their enchanting music and voices to come to the rocky coast of their island,
where they would kill them. In Homer’s tale, Ulysses — curious as to what the
Sirens sound like — orders his crew to plug their ears with beeswax and tie him
to the mast, not to release him no matter how much he begs, while their boat is
passing the island of the Sirens. In this way he will be able to hear their
deadly singing, which no man has heard and survived.”


Hillborg uses soprano Hila Plitmann, mezzo-soprano Anne
Sofie von Otter and the Los Angeles Master Chorale to portray the Sirens, who
flatter Ulysses’ ego, appeal to his mind and soul, and sing seductively
(Hillborg uses English translations of The
Sirens Song
from The Odyssey, along
with additional text that he wrote; the words were projected as supertitles).


Underneath all of this, the orchestra delivers wave after
wave of sound, sometimes melodic, occasionally dissonant, with percussion and
piano interjecting sharp spikes into the tonal wash. The Master Chorale singers
also whistle, whisper and produce other sound effects.


Overall the effect was hypnotic; in the warm hall there were
undoubtedly a few people lulled to sleep. Von Otter (who used a score) and
Plitmann (who didn’t) were positioned on either side of Salonen conducted with
a score, as is almost always the case, but didn’t use a baton for the Hillborg
piece. The percussion section (not large by the standard of Hillborg’s
contemporaries) was notable for not including timpani. Lighting changes and
even a tinkling cell phone at the end added to the effect.


Plitmann’s radiant soprano voice blended well with von
Otter’s creamy mezzo; the two often sang extremely close, intertwined
harmonies. Overall, I found Sirens to
be an interesting — if not fully compelling — rendition of the Sirens story. After the performance,
Hillborg came onstage to bask in the sustained applause, which was extended to
all concerned.


The audience noticeably thinned out for Sirens as opposed to the all-Beethoven first half of the program,
which began with Salonen leading a dramatic reading of the second Leonore Overture (one of four overtures
that Beethoven composed for his only opera, Fidelio).
Salonen made effective use of the work’s silences, particularly in the
opening measures (when Disney Hall is silent, the effect can be magical) and
Chris Still was the offstage trumpeter.


To these ears, at least, the highlight of the evening was
Emmanuel Ax’s work as soloist in Beethoven’s Piano Concerto No. 2 (which,
despite its number, was really the first of the five piano concerti that
Beethoven wrote). Ax’s crystalline tone was perfect for his concept of this
piece, which alludes firmly to both Mozart and Haydn. Every phrase — indeed,
every note — was carefully thought out and lovingly sculpted — the entire
performance was a study in lyrical elegance.


Salonen enforced brisk tempos throughout and the orchestra
accompanied Ax sensitively. After sustained applause, Ax delivered a gentle,
lyrical encore: Schumann’s Fantasiestcke,
Op. 12, No. 1




Lucinda Carver’s preconcert lecture was longer than usual
(45 minutes), partly because Hillborg showed up unexpectedly to join in. Among
his musical influences, Hillborg listed Steve Reich and Brian Wilson (of the
Beach Boys).

Sirens was the
fourth Hillborg piece to be played by the L.A. Phil. One of those was Eleven Gates, which Salonen and the Phil
premiered in 2006. That, said Hillborg, was when he met Betty Freeman, the
local philanthropist who commissioned more than 400 new works over the last 40
years of her life. Hillborg dedicated Sirens
to both Salonen and Freeman.

When Salonen retired as the Phil’s music director, one of
the stated reasons was to allow him to devote more time to composing. So far,
he’s delivered just a couple of pieces: Dona
Nobis Pacem,
a five-minute unaccompanied work for female voices that the
Los Angeles Children’s Chorus sang earlier this year in a tribute concert to
Ernest Fleischmann, and Nyx, a
17-minute work for orchestra that was premiered last February in Paris and in
October by the Atlanta Symphony.

Next week’s concerts (Friday, Saturday and Sunday) will
feature the world premiere of the Prologue to Orango by Shostakovich. The Phil describes this work thusly: “Orango is an unfinished satirical opera
by Shostakovich, sketched [in 1932] while he was writing Lady Macbeth of the Mtsensk District.
He and his librettists conceived ‘a political lampoon against the bourgeois
press,’ concerning a human-ape hybrid. Of the projected Prologue and three
acts, only the 40-minute Prologue was completed, in piano vocal score, which
was just discovered in 2006.”  Read
the complete program note HERE.


The Prologue includes parts for 10 soloists and the Los
Angeles Master Chorale. It is being staged by Peter Sellars with lighting by
Ben Zamora. Gerald McBurney, who orchestrated the prologue, will offer a
preconcert lecture an hour before each program. 


A Los Angeles Times article
on the piece is HERE.


The second half of the program will be Shostakovich’s
Symphony No. 4, which was composed just a few years after Orango. This was the symphony that was not played for 25 years
after it was written, a consequence of the composer’s run-in with Soviet
authorities over Lady Macbeth of the
Mtsensk District.
Laurel E. Fay’s program note says that one of the two
conductors who were eager to conduct the symphony was Otto Klemperer, who at
the time was the L.A. Phil’s music director. Whether the symphony would have
been played in L.A. isn’t spelled out; ultimately the LAPO premiere would not
take place until 1989 under the baton of Andr Previn. (Read the full program note


Expect next week’s program to last a bit longer than a
normal concert. The Prologue to Orango
is 40 minutes long and the symphony, one of Shostakovich’s longest, takes an
hour. The orchestration for the symphony (2 piccolos, 4 flutes, 4 oboes (4th =
English horn), 4 clarinets, E-flat clarinet, bass clarinet, 8 horns, 4
trumpets, 3 trombones, 2 tubas, 2 timpani, percussion (bass drum, castanets,
cymbals, orchestra bells, snare drum, tam-tam, triangle, xylophone), 2 harps,
celesta, and strings) is the largest of Shostakovich’s 15 symphonies.



(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

Five-Spot: What caught my eye on November 24, 2011

By Robert D. Thomas

Music Critic

Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily



Normally each Thursday morning, I list five events that peak
my interest, including (ideally) at least one with free admission (or, at a minimum,
inexpensive tickets). However, because of the Thanksgiving holidays, I’ve only
found two events — admittedly important ones — for this week’s listing.
However, there are also some upcoming events that are worth adding to your



Tomorrow and
Saturday at 8 p.m., Sunday at 2 p.m. at Walt Disney Concert Hall

Los Angeles
Philharmonic: Esa-Pekka Salonen returns to the Phil



Whether it’s a case of “absence makes the heart grow fonder”
or the fact that the L.A. Phil always seems to play with extra fervor under the
baton of its former music director, whenever Esa-Pekka Salonen (pictured right) comes “home” to conduct
the LAPO it’s a special occasion. For those new in town or to classical music,
the now-53-year-old Finnish-born Salonen was the Phil’s music director for 17
seasons (1992-2009), the longest tenure among the 11 people to hold the


This weekend is the first of two consecutive Salonen
programs: Beethoven’s Lenore Overture, No.
2 and Piano Concerto No. 2, along with the world premiere of Sirens by Swedish composer Anders


Sirens is scored
for large orchestra, mixed chorus (the Los Angeles Master Chorale), and two
soloists: soprano Hila Plitmann and mezzo-soprano Anne Sofie von Otter. The 30+
minute piece was commissioned by the late Betty Freeman and dedicated both to
her and to the conductor. Salonen has a three-minute video on his Web site
(LINK) where he discusses the work’s genesis and speaks lovingly of Freeman,
who he described as “sorely missed and a great supporter of new music.”


Hilborg writes of the piece: “In Greek mythology, the Sirens were murderous bird-women who used
their voices to lure sailors to their island. In Homer’s The Odyssey, Ulysses orders his crew to
plug their ears and tie him to the mast so he will be able to hear, and
survive, the deadly singing.

The calm sea starts stirring, ghostlike whispers emerge
from the depths, strange fragmented voices agitate the surface. The scene
suddenly clears and the Sirens appear.

The Sirens try to lure Ulysses in numerous ways: they
flatter his ego; they appeal to his mind and soul, promising him they’ll
disclose all the secrets of the world; and they sing seductively, arousing him.

Then the Sirens’ true monstrous identity is revealed, as
their powerful singing transforms into horrendous screaming. The hallucination
dissolves and all reverts back to calm sea, as Ulysses’ vessel sails out of danger.”


Read the complete program note HERE.


Emanuel Ax, a long-time collaborator with both Salonen and
the Phil, will be the soloist in the concerto, which (despite its number) was
actually the first piano concerto that Beethoven composed. Well-known
harpsichordist and conductor Lucinda Carver will deliver a lecture an hour
before each concert.


Concert information: www.laphil.org


Friday at 9 p.m. on
PBSSoCal TV (aka KOCE)

Los Angeles Opera’s
production of Daniel Catn’s Il Postino


The PBS series Great
taped the world premiere of Il Postino (The Postman) by Southern California composer Daniel
Catn. Plcido Domingo stars as Chilean poet Pablo Neruda, Charles Castronovo
sings the title role, and Grant Gerson conducts.


The opera was based on Ardiente
Pacienca (Burning Patience),
a 1985 novella by Antonio Skrmeta,
and the award-winning (and beloved by many) 1994 film, Il Postino, by Michael Radford, but
Catn turned it into his own very special and, as it turned out, final work
(the composer died unexpectedly last April). A link to the laudatory reviews,
including mine, is HERE.


Information (including
a video preview clip): www.pbsssocal.org



For the “futures” section of your calendar:


The Metropolitan Opera had originally scheduled two “Live in
HD” telecasts for December: Handel’s Rodelinda,
starring Rene Fleming with Harry Bicket conducting, on Dec. 3; and
Gounod’s Faust, with Jonas Kaufman in
the title role and Yannick Nzet-Sguin conducting a new production, on Dec.


The company has added two “encore” presentations (i.e.,
previously recorded telecasts), both of which are worth attending: Mozart’s The Magic Flute on Wed., Dec. 21 at 6:30
p.m. and Humperdinck’s Hansel and Gretel
the following evening. There are several things that make these productions

They’re short (Magic
clocks in at 110 minutes and Hansel
and Gretel
runs 123 minutes) as opposed to Rodelinda and Faust, both
of which are more than four hours in length.

They’re both sung in English.

They’re both labeled as “family friendly.” The Magic Flute was staged by Julie Taymor
with the same sort of puppet and fantasy magic that characterized her
production of The Lion King. The
fairy tale setting of Hansel and Gretel is
equally enchanting. Both are great for adults and kids alike.


A couple of added bonuses:

Hansel and Gretel
was one of the last roles (The Witch) for the great English tenor, Philip
Landridge, who died on March 5, 2010 just a few months after this production

The Magic Flute
was conducted by James Levine and it’s no telling how long it will be before we
see the Met’s music director back in the pit (he’s recovering from back


One downside: you’re going to have a hard time finding a
theater locally for Hansel and Gretel, at
least as of this writing. While The Magic
will be shown at the Alhambra Renaissance 14, Covina 17 and Puente
Hills 20, the closest theater (to me) for Hansel
and Gretel
is the Cinemark 14 in Long Beach, which does have the advantage
of being within walking distance of the Metro Blue Line stations at 1st
St. and the Long Beach Transit Mall.


Information: www.metoperafamily.org



(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.