The Observer, March 3, 2006
Volume XXXVIII, Issue 19
CO showcases darker side of classical music
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Visiting Finnish conductor Osmo Vänskä led the Cleveland Orchestra in an outstanding performance of three 20th century pieces last weekend. While he conducted some works without a baton, each piece was filled with passion as he directed every nuance with extreme care. It is no wonder why Musical America named him "Conductor of the Year" for 2005.
The evening opened with "Four Sea Interludes" from the opera Peter Grimes which Benjamin Britten composed in 1945. In the opera, the sea itself is a protagonist and the music lends itself to weather of the sea; crashing waves and thunderous storms resounded throughout the hall. The piece opened eerily in the first interlude, "Dawn," and each subsequent interlude proceeded to become darker until the dramatic "Storm," which virtually immersed the audience in a violent tempest. This dramatic work was skillfully conducted and very well received by the audience.
Vänskä continued to darken the atmosphere as Austrian cellist Clemens Hagen performed Shostakovich's Cello Concerto No. 1. Chills ran up my spine as Hagen played the four-note theme with perfect tone each time throughout the first movement. Hagen lacked the intensity that many soloists give to the work; however, he shaped the music wonderfully with the rest of the orchestra. The audience gave him a well deserved standing ovation.
Concluding the evening was Rachmaninoff's Symphony No. 3. The piece seemed out of place, as it did not continue in the pattern of dark and dramatic works. While this piece was composed in the same era as the others, its compositional style is much more reminiscent of works from the 19th century. Nonetheless, the piece presented a rich palette of tonal colors and showcased some of Rachmaninoff's best melodies, which were passed fluidly from section to section. Lyndsey Benson, a first year medical student at the Cleveland Clinic, commented that, "I liked the third movement, especially the part where the bassoon solo line was picked up by the first violins, followed by the rest of the strings." Vänskä conducted the entire work with extreme care and concert mistress Ellen dePasquale made excellent contributions to the entire work through her lovely violin solos.
This coming weekend's Cleveland Orchestra performances will be celebrating Mozart's 250th birthday with a family-oriented concert series. For more information, check the www.severancehall.comwebsite or stop by the box office located in Severance Hall.
