Out West Arts: Performance at the end of the world

The Gustavo Dudamel hype machine took another notch up this weekend here in Los Angeles. The occasion was the first public availability for tickets to the most inexplicably anticipated non-event since the Michael Jackson funeral – a single show at the Hollywood Bowl welcoming Dudamel as music director of the Los Angeles Philharmonic. The program which is entitled “Bienvenido Gustavo!” scheduled for October 3rd will conclude with a performance of Beethoven’s Ninth Symphony preceded by several hours of community youth orchestras playing god-knows-what with a smattering of local music celebrities like Flea, Herbie Hancock, and David Hidalgo. If the thought of Dudamel’s wildly hit-or-miss conducting abilities don’t make you wince, the very notion of the sheer amount of pandering and filler to be suffered through under that hot afternoon sun definitely should.

But still there were apparently thousands of people both in person, on the phone, and on line looking for the free tickets Saturday morning and afternoon. And we’re told by the Los Angeles Times that very many of these people walked away empty handed and frustrated. Of course, the L.A. Times has played one of the larger roles in generating all of this hype to begin with. With its near total lack of any critical ear or thought about Dudamel’s actual performance track record to date, the paper has glorified a very young and talented man whose actual achievements have been variable and lackluster at best. (Things can change quickly with a little age, and if you don't believe me, just ask Daniel Harding.) Of Dudamel's several performances in Los Angeles with both the L.A. Philharmonic as well as other ensembles, his approach is more often promising than it is fulfilling.

Still, what’s left of our local news outlet is milking every last smile and tear it can from all this much ado about nothing. While the L.A. Times hasn’t missed a beat in covering the changing banner that hangs on the outside of the Walt Disney Concert Hall, it has failed to point out that in fact, the Philharmonic made tickets available to supporters of the organization weeks and weeks ago for a minimum generous donation of around $1500 each as I recall. (I threw the mailer away long ago, but that should be the right figure if my memory serves me.) Apparently the people’s maestro can still be had first and foremost by the folks with the deepest pockets. There’s already a second market for the tickets on line, for those of you who just can’t get enough of whatever it is you’re supposed to want this week. But if you’re feeling disappointed about missing out on tickets, take my advice. There’s about a million things you could do in October for free or otherwise that will be more rewarding than this media stunt. Read a book, take a nap, or better yet join me at the Dorothy Chandler Pavilion for the Thomas Hampson recital being sponsored by the Los Angeles Opera that day. As for Dudamel, he may one day be worth getting this excited about, but today is not that day.

Labels: LA Philharmonic

Oh what a relief it is. At least that was my thought earlier today after hearing the announcement for the Los Angeles Philharmonic’s 09/10 Season, the first under new music director Gustavo Dudamel. I've been worried about the fate of new and recent music here at the Disney Concert Hall with Salonen on the way out and the much-hyped Dudamel slowly bronzing in the light of seemingly endless flashbulbs. This anxiety was even more heightened after hearing about the incredible season Alan Gilbert has lined up for the New York Philharmonic next year just days ago. But as far as programming is concerned, all of my worry was for naught. The L.A. Philharmonic is offering up an incredible season with new music around every corner, plenty of old friends, and wonderful and inventive programming throughout the year.

So what’s the big deal? Where to begin. Nine world premieres, five of which will be led by Dudamel, including pieces from John Adams, Unsuk Chin, and Stephen Hartke. A major retrospective of works from California composers under the direction of John Adams (“West Coast: Left Coast”) including the likes of Terry Riley and Lou Harrison. A Dudamel organized series “America and the Americas” will revisit works from and inspired by the geographical region to include Osvaldo Golijov’s Pasión Según San Marco, Antonio Estévez’s Cantata Criolla and Kelly O’Connor singing Peter Lieberson’s Neruda Songs. Thomas Adès will return with his violin concerto, Emmanuel Ax will perform in several programs including one with Yo-Yo Ma, and Christine Brewer will give a recital. And while New York may get Ligeti’s Le Grand Macabre in concert, L.A. will have a semi-staged version of the U.S. Premiere of Louis Andriessen’s La Commedia. And did I mention the two appearances from Dawn Upshaw, including her performance of Folk Songs from Berio?

There’s plenty more, but I’ll leave that for you to dig out on your own. There’s plenty of bad news these days, and it’s a real pleasure to see something go unquestionably right for a change. Here’s looking to a great first season for Dudamel and another great season for the L.A. Philharmonic.

Labels: LA Philharmonic

Salonen in 2003
Photo: Stefan Bremer

And so it is with bad news – even though you know it’s coming – there remains an undeniable sting. It is with a heavy heart that I opened the announcement for the Los Angeles Philharmonic’s 2008/2009 season in today’s mail. This will be the final season under the musical direction of Esa-Pekka Salonen and it is no understatement that his tenure here has changed the face of classical music not only in LA but in this country as a whole. While what will follow him may have great promise, it is just that – a voucher of things yet delivered.

So what will this last year feature? Unsurprisingly, it plays out with 9 months of close friends, collaborators, and greatest hits all wrapped up under the moniker Celebrate: Salonen. In many ways it’s my idea of a “dream season.” The programs he will lead will rely heavily on the music of Igor Stravinsky over a number of programs including The Firebird, Le Sacre du Printemps, and, for his final appearance on the WDCH stage as music director in April 09, Symphony of Psalms and a semi-staged version of Oedipus Rex with collaborator Peter Sellars. Sellars will also be involved with Salonen for the twice rescheduled La Passion de Simone from Kaija Saariaho with Dawn Upshaw in January 09. Also in the works is another new Salonen commission to be premiered in April 09 on a bill with Ligeti’s Clocks and Clouds and Beethoven’s 5th. Other old friends to appear with the maestro will include Emmanuel Ax and Yefim Bronfman, and Salonen will lead new commissions from both Louis Andriessen and Arvo Pärt.

The non-Salonen department has nary a dog in it. Highlights include two weeks of programming under the guidance of John Adams including the LA premiere of A Flowering Tree with the original cast and a second night with his Son of Chamber Symphony. Thomas Adès will lead selections from Berlioz’ Les Troyens with his own Tevot and America: A Prophecy. MTT will bring his Thomashefsky Project down south, Dudamel will try to stay out of Christine Brewer’s way in Strauss’ Four Last Songs, and Christoph Eschenbach will support Julia Fischer in the first Shostakovich violin concerto. And the hits keep on coming with appearances from Marin Alsop, James Conlon, Stephane Denève, Robert Spano, Charles Dutoit, Christian Zacharias, Martha Argerich (Ravel Piano concerto in G), Xian Zhang (Adams, Prokofiev, and Bartok), Lionel Bringuier, Bernard Labadie, Kate Royal, Jean-Yves Thibaudet, and Gil Shaham. The San Francisco symphony will visit with MTT, Dudamel will perform with the Israel Philharmonic, and Zubin Mehta has a two-night stand with the Vienna Philharmonic. This is a season so good not even appearances from Midori and Joshua Bell can sink it.

I’m totally wound-up now, so I’ll stop here. So enjoy. It may be the end of the world as we know it, but it will likely feel fine.

Labels: LA Philharmonic

Lionel Bringuier looking much cuter than his LA Phil press photos
Photo: Micke Grönberg/SR

Apparently, the LA Phil press department never sleeps as evidenced by this curious oddity – LA Phil Assistant Conductor Lionel Bringuier was identified by CNN as one of the “Young People who Rock”. According to their website, YPWR is “a weekly interview series focused on people under 30…who are doing remarkable things.” Bringuier is off to a strong start this season with some appearances in the Phil’s new music “Green Umbrella” series where he led performances of the works of Kaija Saariaho. He also survived the Lorin Maazel led performances of Britten’s War Requiem last week with no apparent signs of damage. Bringuier will be fielding questions from the on-line community on "CNN.com Live" this Friday, February 1, at 11:30 AM (PST) per their website. You can even submit a video question if you like – either way it sounds much more interesting than those dreary presidential debate questions.

Speaking of youth and the LA Phil, we’ve another series of Gustavo Dudamel concerts coming up at the end of March and inquiring minds like myself who have been speculating about his interest/aptitude towards contemporary music may finally be getting some hints. The programs he will lead on March 28-30 will include the LA Phil’s own beloved Esa-Pekka Salonen’s composition Insomnia. Now there is some potentially clever programming. FYI – there is a dreadful puff piece interview with Dudamel on the LA Phil website where Gail Eichenthal asks brilliant zingers like “Why do you suppose music is so well-suited to rescue children from poverty on the streets?” Thank you Ms. Eichenthal for exhibit A in my argument about the problems with the media's coverage of (and the public's overenthusiasm to) Dudamel and the Simon Bolivar Youth Orchestra. Western culture saves the great, unwashed masses once again. Who needs global economic justice and peace when you have art?

And on a brighter note, the 2008 Hollywood Bowl season is on its way with Salonen conducting Mahler’s 8th in September, Sharon Jones and the Dap-Kings, Thibaudet in the Khachaturian Piano Concerto, and a largely Philip Glass program led by Leonard Slatkin.

Labels: LA Philharmonic

Stéphane Deneve
Photo: Lawrence K. Ho/LAT 2007

It’s August in LA and even though it’s only a week before Labor Day, our hottest months are just now getting underway. Which is why the light clouds provided relief in the form of a surprisingly cool evening for the crowd at the Hollywood Bowl last Thursday. The LA Philharmonic played under the leadership of Stéphane “Leopold” Deneve in his first Bowl appearance with a program of French masters including Berlioz, Debussy, Saint-Säens, and Ravel. And while there was little groundbreaking or new about the show, and it suffered from the awful acoustics that are part and parcel of the venue, everything was played so splendidly and with such skill and care that all the negatives melted away into wonder.

This success was in no small part due to the contribution of Jean-Yves Thibaudet who was the featured soloist in Saint-Säens’s fifth Piano Concerto. Thibaudet seems to love the West Coast and the region loves him right back - he appears as a regular fixture in both LA and SF in a variety of indoor and outdoor venues throughout the year. This piece can often be about the fireworks of the last movement, but Thibaudet had other things in mind leaving the crowd with a second movement that was nothing short of brilliant. He was a man on a mission.

But the show was far from over with Deneve leading our hometown orchestra through an especially Wagnerian version of La Mer and a rousing suite from Daphnis et Chloë. It may be the doldrums of late summer elsewhere, but the LA Philharmonic again proved that any night they are playing is likely one to remember.

Labels: Deneve, Hollywood Bowl, LA Philharmonic, Thibaudet

Diana Krall looking not unlike Daphne
Photo: Bruce Weber

If there were ever an argument about the benefits of staying through the intermission of a program that seems miserable at intermission, it was this weekend’s performances with the LA Philharmonic at the Hollywood Bowl. To some extent, this is unfair to say since the show was really two programs in one. Most of the tickets were sold for the evening’s headliner, Diana Krall, who appeared with the Clayton-Hamilton Jazz Orchestra. However, the powers that be must have decided that the Krall set would not be lengthy enough to occupy a full evening with an intermission, so the LA Philharmonic was recruited to perform an unnecessary and needlessly pandering 30 minute intro including orchestral excerpts from On the Town and Porgy and Bess. The talents of this group and the Phil’s associate conductor, Joana Carneiro, are wasted on this schlock filler - music that is both pleasantly familiar to a crowd largely uninterested in classical music and yet not given the requisite space or context to make it worthwhile.

Luckily, Krall was on the bill and did she ever deliver. Krall’s recordings are excellent, but none compare to the joy of seeing her live, and she is one of the rare performers who can take the mammoth space of the Bowl and shrink it to virtually nothing in an instant. Her dusky voice and intonation were magnificent in a program that focused heavily on Nat Cole and Cole Porter, as well as numbers from her current record From This Moment On. Although she can tend to fall off in the bottom part of her already low range, there is a no-nonsense quality to her playing and singing that make these standards seem both heart-felt and nonchalant simultaneously. Her support from CHJO was first rate, but for two extended stretches she was accompanied only by John Clayton on bass, Jeff Hamilton on drums, and guitarist Anthony Wilson. And just think, all that talent and virtually no pandering about the events in her personal life that have occupied so much of the press coverage about her in the last year. It’s always nice to see artists doing what they do best without the need to filter it through whatever the “story” is about them at the moment.

Labels: Diana Krall, Hollywood Bowl, LA Philharmonic

Sellars, Saariaho, and Salonen
Photo: E. Mahoudeau

The LA Philharmonic announced today that the American Premiere of Kaija Saariaho’s La Passion de Simone has been delayed, again. The work which premiered in Vienna in 2006 as part of Peter Sellars’ New Crowned Hope Festival was originally scheduled to premiere here in LA in January 2007, but was postponed when the soloist for whom the work was written, Dawn Upshaw, was forced to withdraw for health reasons. The performance was rescheduled for the opening weekend of this year’s LA Philharmonic Season, October 5-7.

Now, according to media reports, the performance has again been canceled and rescheduled in part due to the decision of music director Esa-Pekka Salonen and Peter Sellars that the work needs to be presented “in its fully staged form.” Since not all of the participants can be available for the staging on the previously scheduled dates of what was apparently intended as a concert performance, Simone has again been postponed until 08/09 and in its stead Salonen will conduct a program including Berio, Richard Strauss, and Beethoven’s 7th.

Bummed doesn’t begin to describe my reaction to this news. While I can appreciate the argument, seeing the piece without the staging was actually going to be one of the highlights of the performance. Not that the solo dance accompaniment from Michael Schumacher wasn’t worthwhile, but having seen one of the London performances of the piece this summer, I think there are actually benefits to a concert performance in a work of such intensity and relatively small scale. Not to mention that if Simone has suffered from anything thus far in its history, it has to be that the work hasn’t yet met the right conductor. Salonen has proven to have a special affinity for Saariaho’s work and to have to wait yet again for this performance is undoubtedly a disappointment. However, if me must wait for the stars to align to see Salonen conduct Saariaho's work in LA, I guess we shall.

Labels: LA Philharmonic, Salonen