I have not heard the Berlin Philharmonic sound this good in years. The orchestra had recently become quite clinical in its performances, and its former music director, the otherwise excellent Simon Rattle, had probably stayed too long in post. Last Summer at the Festival, Rattle looked much happier at the helm of his new orchestra (the London Symphony Orchestra, which sounded happy to have him as well), but the verdict remained out with the Berliners and their new music director, the reclusive and enigmatic Kirill Petrenko. A year further along, the Berliners seemed determined to return to their former place among the top tier of the world’s orchestras.
Tonight’s program provided a good test: Symphonic Pieces from the Opera Lulu by Alban Berg, and the Symphony #9 by Ludwig van Beethoven.
If the orchestra wanted to be clinical, Berg’s twelve-tone music would have given them a good excuse. But Berg knew he was writing music, and went a step beyond his teacher Schoenberg, who had developed the formulaic twelve-tone technique, to successfully craft longer works including operas. Lulu is an opera I once knew reasonably well when I was a child, when I had studied it ahead of seeing it live at the Metropolitan Opera in New York. Somehow it did not stick with me over the years, getting eclipsed by Berg’s Wozzeck for my affections already while I was an undergraduate, to the point that Lulu fell almost completely off my radar.
Berg assembled these concert pieces when he realized he might never complete the opera (he actually never did) and that the rise of the Nazis in Germany and the writing appearing on the wall in Austria might make it difficult to perform in the German-speaking world even if he did finish it. So he needed to assemble a half hour or so of music that might make a coherent concert program. In this he was successful, and the Berliners underscored this with a performance that was anything but clinical. Marlis Petersen joined the orchestra for the middle movement entitled “Lulu’s song” adding her own clear soprano lines. In total, the performance stood well on its own as music, utilizing Berg’s idiom which followed the twelve-tone method but also had to maintain a sense of both music and drama.
The Berliners must know Beethoven’s Ninth by heart, so I suppose they could also have ended up being clinical here too. And once again they were not. The first three movements represented a battle between a dark world and a human joy, the orchestra sounding almost playful in the juxtaposition. While there was a tension between the two competing moods – particularly in the first two movements, it was also clear in which direction Beethoven was moving, heading to the triumphant apotheosis of joy in the finale. I would quibble a bit with Petrenko’s tempi, which were too fast, particularly in the first movement (essentially the same speed as the second movement scherzo) and in the third (one of the symphonic repertory’s great adagio movements, along with those from the Bruckner Eighth and Mahler Third), the third sounding slow only by comparison with what came before. But the musicality remained.
Joining Petersen in the quartet were Elisabeth Kulman, Benjamin Bruns, and Kwangchul Youn, who blended well together and with the orchestra as a coherent part of the scheme. Petrenko placed them behind the orchestra, rather than at the front of the stage (where they might more normally be) – but as Petrenko is primarily an opera conductor, he knows well how not to overwhelm the singers even while maintaining a full orchestral tone. Less successful was the Berlin Radio Chorus, which seems not to have gotten the memo, producing detached staccato and emotionless singing in contrast to the otherwise exhilarating performance.
The Berliners perform at the Festival again tomorrow, but I decided to skip it as I wanted to get through an entire summer without hearing any music by Mozart or Tschaikowsky (I like their music, but they are far too over-rated and over-performed and I need a break from both of them for a while). I’ll catch the Berliners and Petrenko on a future date and see if their transformation sticks.