By Robert D. Thomas
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily
Orchestra. Valery Gergiev, conductor; Alexander Toradze, pianist
Suite (1919); Prokofiev: Piano Concerto No. 3
Shostakovich: Symphony No. 1
Tuesday, October 18, 2011 Valley Performing Arts Center
The Valley Performing Arts Center on the Cal State
Northridge campus fills a major cultural hole in the San Fernando Valley. It
hosted the Mariinsky Theatre Orchestra of Russia last night.
With about 1.75 million residents, the San Fernando Valley —
were it to be a city — would be the fifth-largest municipality in the United
States (can you name the other four? See the answer at the bottom of this post)
and the only one of the top five without a major concert hall … until this year,
when the Valley Performing Arts Center opened on the Cal State Northridge
Apparently not everyone in the Valley has gotten the word of
the new hall’s opening; last might’s concert by the Mariinsky Theatre Orchestra
of Russia — one of the world’s great ensembles — didn’t fill all 1,700 seats in
what is known as the Great Hall.
Last night wasn’t the first orchestral concert at VPAC (the
China Philharmonic appeared last spring) but it certainly was a major test of
the auditorium’s acoustics, one that the Great Hall (as the main room is
called) passed with flying colors to these ears. Moreover, the hall is visually
striking inside and out (more on the hall later in this post).
The Mariinsky Orchestra and its music director, Valery
Gergiev, are in the midst of a grueling 17-concerts-in-20 days, coast-to-coast-to
coast trip that began October 4 in New Jersey, continued with three concerts to
open the season at New York City’s Carnegie Hall, then dropped down to Fairfax,
Virginia, before heading to California. In our state, they played Thursday in
Costa Mesa, last weekend (twice) in Berkeley, Monday back in Costa Mesa and
last night at VPAC. From here it’s on to Seattle, Vancouver, Toronto, Montreal
and Ottawa in Canada before they return home (if they haven’t dropped dead from
exhaustion). Oh, and by the way, from Sept. 30 through Oct. 2, the group was in
Most of the tour stops are getting some combination of the
six Tchaikovsky symphonies, but last night’s concert eschewed the popular
Russian composer; instead, it played all 20th century Russian fare,
opening with Stravinsky’s 1919 suite from his ballet The Firebird.
Many people believe that the Mariinsky Orchestra (during the
Communist era it was known as the Kirov) is one of the last orchestras in the
world to retain some sort of nationalistic flavor in its playing. If that means
deep, resonant low strings and brass that manage to meld an interesting combination
of bite and mellowness, then they’re right. Last night’s performance wasn’t
always tidy but the sound was rich, the orchestra sounded better overall than I
remember from hearing it five years ago in Costa Mesa, and 2/3 of the concert
One reason for the occasional untidiness is that Gergiev has
one of the most unusual conducting styles of anyone plying their craft these
days. He uses neither a podium nor a baton (but did use a score for all three
works last night). He stands on the floor and his hands are almost constantly
fluttering, so much so that it almost seems as if he’s afflicted with a tremor.
In many ways, he’s a minimalist with his gestures; there were times (e.g., in
the transition to the Infernal Dance in
The Firebird) when a more violent
gesture might have gotten a bit more bite from of his players.
Gergiev also likes to luxuriate in his orchestra’s rich
sound and his tempos can turn glacial, occasionally. That, of course, gives his
section leaders chances to spread their wings (so to speak) in The Firebird, with kudos going to the
oboe, cello, clarinet and, in particular, to the horn solo at the opening of
the Finale (the program lists individuals
by names in sections but doesn’t identify the winds, brass or percussion
What was most impressive about The Firebird was how mellow everyone — but particularly the brass
sections — sounded in the majestic conclusion, even from a fifth-row orchestra
seat when one might have expected to be blown away. Nothing of the sort
occurred; an acid test for the hall, from my perspective.
After intermission, Gergiev and Co. closed with
Shostakovich’s Symphony No. 1, which is a pretty gutsy (or foolhardy) choice
for a tour program.
Shostakovich wrote the piece in 1925 when he was 19 years
old as a graduation piece at the Leningrad Conservatory. Even for a world that
had been turned on its ear sonically by Stravinsky’s The Rite of Spring 12 years earlier, one wonders what faculty
members judging this precocious, 35-minute, four-movement must have thought.
From the perspective of time, we can see evidences of what
was to come from the composer, especially the first piano concerto (the piano
plays a prominent role in the symphony’s second movement). An occasional rough
patch notwithstanding, Gergiev and the orchestra played the symphony boldly and
brought out its occasionally sardonic, occasionally cheeky humor with panache.
Prior to intermission, Alexander Toradze was the soloist in
Prokofiev’s Piano Concerto No. 3. The program bio lauds Toradze’s “unorthodox
interpretations, deeply poetic lyricism and intense emotional excitement.” To
my ears (a decidedly minority opinion, judging by the audience reaction), Toradze
bludgeoned the outer movements, displayed little, if any, poetic lyricism, and
his “intense emotional excitement” consisted of flexing his muscles before
launching into each of the many pyrotechnic sections and bouncing off of the
piano stool when he ended said portions. He made Lang Lang’s rendition in
Hollywood Bowl last summer seem positively elegant by comparison.
The orchestra’s accompaniment was the highlight of the piece
for me, although there were a couple of times when things slowed down so much
that the high strings turned squeaky in ultra-soft moments.
As noted, the audience was euphoric over the Prokofiev and The Firebird. It seemed less sure about
the Shostakovich but eventually brought forth enough enthusiasm so that Gergiev
and Co. offered a witty encore: Anatoly Lyadov’s Baba Yaga.
More on the VPAC:
Set on the south side of the CSUN campus, the Valley
Performing Arts Center is a striking stainless steel and glass, four-story
structure surrounded on two sides by a fountain and a park in which 173 new
trees were planted (to go with 14 already in place). The outside concrete plaza
has lighted strips embedded and metal benches; the entire facility has an open,
pleasant feel especially on a balmy evening (as we had last night). The VPAC
cost $125 million and contains 166,000 square feet of space.
The inside lobbies use 6 million light beige floor tiles
that create a light, airy feel (although each of the four levels could use a
few more benches for seats). In addition to the multi-purpose main hall, the
facility has a 178-seat black box theater, 230-seat lecture hall and new
broadcast space for KCSN, the university’s public radio station.
The light feeling continues inside the Great Hall, which is
essentially a rectangle but the wooden sides gave me the feeling of sitting
inside of a Longaberger Basket — not unpleasant, just interesting. Since the
facility was built to handle all sorts of performances (upcoming events include
the New York City Ballet, CSUN Opera’s Cosi
Fan Tutte, and The King’s Singers — links to all three HERE), the stage has
side and back walls and no rear seats, such as you find at Walt Disney Concert
The whole facility is a great addition to the Valley scene.
One hopes more people — including students — will learn about it in the months
Quiz answer: the top five cities by population are New
York, Los Angeles, Chicago and Houston (which are larger than the San Fernando
Valley) and Philadelphia — No. 5 on the list — which is smaller than the SFV.
If the Valley were subtracted from Los Angeles, L.A. would drop to third, just
The printed program included not a word about the new
Last night marked the third of at least four performances
of the Prokofiev third concerto that we will have heard or will be hearing
locally within a four-month period, beginning with Lang Lang to open the Bowl’s
classical season in July. Xiayin Wang played the piece with the St. Petersburg
Symphony earlier this month at the new Soka Performing Arts in Orange County
and Yuja Wang will be the soloist when James Conlon and the Los Angeles
Philharmonic perform the concerto at Walt Disney Concert Hall Nov. 4, 5 and 6
(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.