Chinese-American conductor Xian Zhang was the OSM’s second guest. The current goes well between the former protegee of Lorin Maazel and our orchestra. The positive energy felt on stage Wednesday night bears witness to this.
It’s hard to know where to start this review, as there are so many positive things to say. First observation: in the formula of the concert without intermission we have rarely seen more intelligent and efficient: finally a concert of 75 minutes, fluid, logical, balanced, interesting, not “headache” from which we come out stimulated and not exhausted.
Moreover, the general quality means that the contribution of women, both the composer and the conductor, enhances the level and interest of the bouquet of OSM webcasts of which this concert is a part and of which the Zubin Mehta program, which we will comment on Friday in these columns, is the headliner.
As for the music, let’s face it. If the latest young Finnish prodigy or the lesser curly South American had been on the podium directing exactly The Moldau, Šárka and Blanik as we heard them last night, everyone would scream miracle and genius.
Hands-on music
Xian Zhang had a great surprise in store for us: she wasn’t really there to finish things off or split hairs. Voluntarily engaging in the scores, she painted Smetana’s picture giving the kind of music we need right now: music performed with heart that transports and stirs us.
The type of approach is immediately palpable for everyone, since The Moldau is taken head-on, without the slightest procrastination in the transitions between sections. The poetic eloquence (the moon is shining brightly and the little stream is flowing vigorously) is erased in favor of the general spirit. If the woods are very beautiful in Blanikthe usually very indiscreet trumpets at the OSM were covered by the percussion at the end of The Moldau and under lampshade at the end of Sarka.
What Xian Zhang’s exhilarating approach somewhat obscures is the rhythmic breadth of Czech music and its less smooth sonic characterization than what we’ve heard.
Before this sound saga (we will thank the chef for making us hear Sarka er Blanik hoping to hear a My country complete soon), Xian Zhang had directed an excellent Andrew Wan in the Romance by Dvorak: very sure intonation and impeccably mellow sound from the OSM’s first concertmaster.
Childhood memories
Another impressive moment of the concert: Ringelspiel by Ana Sokolovic, a “carousel” of childhood memories in five sections. The wishes of the composer are very perceptible: the circular movement, the mechanical aspect through very particular orchestral colors. Memories summon Prokofiev’s motor, Bartók’s and Ravel’s shadows and lead in “Carrousel Cassé” to an ending that evokes that of the 15th Symphony by Shostakovich. Compared to Unsuk Chin, this German-Korean composer championed by Kent Nagano’s OSM at Carnegie Hall, a work such as Ringelspiel by adopted Quebecer Ana Sokolovic has many advantages and in particular many more surprises in terms of the many twists and turns, textures and originality of spirit and craftsmanship.
From this work, one could see the commitment of conductor Xian Zhang who conducted with great clarity and remarkable energy. We will therefore be pleased to relive this superb evening on video.