Berlioz, Prokofiev, Schostakowitsch
The first Sunday matinee of the Mozarteum Orchestra‘s new season filled Salzburg’s Great Festival House with music, if with many empty seats as well. This was a shame, as the orchestra shone under guest conductor Markus Stenz.
The concert overture Roman Festival by Berlioz led kicked off the program full of color. Derived from music adapted from his opera Benvenuto Cellini, this reworking allowed the individual musicians in the orchestra to showcase themselves while blending to a thrilling whole. This was moreso apparent in the second work, Prokofiev‘s first violin concerto, where soloist Arabella Steinbacher joined the orchestra. Her tone was warm and sweet – but never too much so, allowing just enough edge to reflect that Prokofiev, when he wrote this in 1916, remained in the vanguard of new music. So we got intricate combinations of musicians – introduced by the viole, Steinbacher played a dialogue with the flutes, and then moved on to continue the discussion through the orchestra. And quite a fun discussion, moving back and forth and around and around, providing stimulation for the mind throughout the masterfull (and underperformed) work, here captured well be these artists assembled on stage.
Steinbacher treated us to an encore – a movement of a sonata by Prokofiev – which allowed her to showcase her talents further. This time, she carried out the fanciful dialogue not with an orchestra, but rather by herself. Her tone was just big enough to fill the large hall without strain, and allow us to enjoy her versatility working through Prokofiev’s clever thoughts.
The program closed with more color, except this time more somber: Schostakowitsch‘s fifth symphony. Stenz translated the sense of foreboding in the symphony by controlling the dynamics, the big moments bringing in a shock component. Stenz made Schostakowitch almost snarky: did the first movement describe clowns rounded up and marched to Siberia for cheering up the miserable victims of Soviet oppression? Who was trying to dance in the second movement? There was the color – so obvious in the Berlioz and Prokofiev works – showing through, in an controlled reading. While in my own head I’ve heard this work as increasingly black over the last few years (and heard that interpretation to the extreme with the Petersburgers and Yuri Temirkanov visiting the Musikverein a year and a half ago), I still understood the convincing spin Stenz and the orchestra gave the symphony. It certainly helps that this orchestra is in good form.