Tarrodi, Ravel, Chopin, Stravinsky, Sibelius
The Gothenburg Symphony Orchestra and its new chief conductor Santtu-Matias Rouvali came to the Felsenreitschule this evening with a vividly colorful Petrushka by Igor Stravinsky. Composed between his Firebird and Rite of Spring, tonight’s performance also demonstrated how this could serve as a bridge work between those greatly-contrasting styles, as Rouvali and the Orchestra emphasized the complexities in the score – particularly in the first and fourth scenes, set in the fairground, when we could hear all the varying activities going on at once (but never jumbled). Although a concert performance, we could almost see the ballet.
In saying we could almost see the ballet, I am not actually referring to Rouvali’s unusual conducting style – one would think he was once a ballet dancer, with his exaggerated arm motions and (controlled) leaps around the podium on his toes. He did this throughout the concert, not just for Petrushka, so it is his style. But the orchestra responded well – and indeed sounded much better than the last time I heard it live (under Rouvali’s overrated predecessor Gustavo Dudamel).
The concert’s encore, the Valse Triste by Janne Sibelius, also thrived in this telling – although the extreme tempo changes may have been a bit odd (even if they actually worked), starting off and finishing very slowly, but getting very fast, or speeding up and slowing down, to emphasize an odd rhythm.
Unfortunately, as colorful as the concert was after the intermission, so was it dull before the intermission. The concert had opened with Liguria, a tone poem from 2012 by the Swedish composer Andrea Tarrodi. The program notes said she was inspired by Respighi’s musical canvasses of Italian landscapes, but Respighi could make pine trees exciting – I heard none of this in her work. The waves were clear and soothing, lapping against the coast, but the music never went anywhere.
Worse was to come: Maurice Ravel‘s Piano Concerto (the one for two hands). I suppose it was pleasant, maybe, but there just was nothing of substance there. For such a work, the performance matched exactly. Soloist Alice Sara Ott appeared intent on getting as little sound out of the piano as possible, tapping her fingers lightly against the keys. She remained audible because the orchestra never overwhelmed her – Ravel had not really given them anything to do either. This was distilled essence of music. Ott’s encore, Frederic Chopin‘s posthumous Nocturne #20, showed more of the same technique from Ott, if slightly more of value from the composer.
Of course, there was a tragic subtext. Ott was supposed to perform Grieg’s concerto this evening. But late last year she felt unwell and went to have medical tests done. Earlier this month she got the results: multiple sclerosis. At 30 years old, she now must contemplate the end of her career. I guess the insubstantial Ravel work is far less grueling than Grieg’s showpiece. This is sad and I feel for her. She has announced that medical breakthroughs mean she will fight the disease, and I wish her well and many more years in front of a keyboard.