Avery Fisher Hall can be hard on an orchestra. Lush sound sometimes turns arid in the big box, and even the loudest, most dramatic moments can feel flat. The tough part isn’t exactly filling the space but rather making the sound seem to live.
V.Gergiev conducted London Symphony;Mahler's 9th & 10th [音楽時評]
Mr. Gergiev’s latest survey of the Mahler symphonies, begun at Carnegie Hall with the Mariinsky Orchestra in October and concluding with three London Symphony concerts last week. と今世界で最も多忙な指揮者と言われるValery Gergiev がMahler 交響曲全曲演奏会を，No.1,2,4,5,6,8 を at Carnegie Hall with the Mariinsky Orchestra in October そして，No,7，3，9，10 を at Avery Fisher Hall with London Symphony Orchestra で演奏して，今年2月末で完結したそうです．
Marinsky Orchestra と London Symphony 両者のMusic Director を兼任していて，とにかく多忙な指揮者ですから，後半のLondon Symphony Orchestra との3日間の演奏にも，若干ムラがあったようです． 7番はMahler のなかでは最も演奏機会の少ない曲ですが，その新鮮な解釈を示したと絶賛されましたが,3番は，かなり平凡な演奏に終わったようでした．
それが最終日の9番と10番では高い評価を得ています． Mr. Gergiev’s moving but unsentimental interpretations, however, avoided any simplistic or programmatic, and certainly any schmaltzy, narrative. Nothing felt, as it often can in Mahler performances, contrived or done simply for effect. The climaxes were blazing yet never over the top, and textures were carefully layered: in the Adagio from the 10th, the horns formed a liquid foundation for the leaps in the strings.
It was in certain ways a softening of Mahler, sincere rather than saccharine or sarcastic. You were less aware than usual of the composer’s abrupt shifts — of style, dynamics, tempo — not because those shifts weren’t present but because they occurred so seamlessly. In the second movement of the Ninth, which begins with a spirited dance and turns stranger and darker, the music seemed to transmute fluidly rather than simply switch.
Despite his emphasis on accuracy, Mr. Gergiev was flexible in the rondo’s big lyrical theme, which anticipates the sublime final Adagio, played here with eloquence and dignity.
Avery Fisher Hall の音響効果の悪さはつとに知られていますが，in the lengthening silences that gradually overcome the music at the end of the symphony, the London players made Avery Fisher Hall sound more alive than most orchestras do at their loudest.
ほとんど原文のままですが，高い評価を，どうぞご自由にご渉猟下さい．
Music Review
A Conquering Climax to a Tribute to Mahler
By ZACHARY WOOLFE
Published: February 28, 2011
Hiroyuki Ito for The New York Times
Valery Gergiev conducted London Symphony Orchestra through Mahler’s 9th and 10th Symphonies at Avery Fisher Hall on Sunday.
The concert concluded Mr. Gergiev’s latest survey of the Mahler symphonies, begun at Carnegie Hall with the Mariinsky Orchestra in October and concluding with three London Symphony concerts last week. He chose to end on Sunday with Mahler’s end: the 9th Symphony and the Adagio from the unfinished 10th, two profound works that have usually (and conveniently) been interpreted as valedictory and focused on death.
Mr. Gergiev’s moving but unsentimental interpretations, however, avoided any simplistic or programmatic, and certainly any schmaltzy, narrative. Nothing felt, as it often can in Mahler performances, contrived or done simply for effect. The climaxes were blazing yet never over the top, and textures were carefully layered: in the Adagio from the 10th, the horns formed a liquid foundation for the leaps in the strings.
It was in certain ways a softening of Mahler, sincere rather than saccharine or sarcastic. You were less aware than usual of the composer’s abrupt shifts — of style, dynamics, tempo — not because those shifts weren’t present but because they occurred so seamlessly. In the second movement of the Ninth, which begins with a spirited dance and turns stranger and darker, the music seemed to transmute fluidly rather than simply switch.
Even in the third-movement “Rondo-Burleske,” Mahler’s trademark dizzying transitions of mood felt organic. There were no exaggerated accents (the cheap way to channel this music’s eerily jaunty quality) or artificial spirit, just rhythmic precision in both the brass and the strings, more difficult but ultimately far stranger and more potent than blatant, easy grotesquerie.
Despite his emphasis on accuracy, Mr. Gergiev was flexible in the rondo’s big lyrical theme, which anticipates the sublime final Adagio, played here with eloquence and dignity.
And in the lengthening silences that gradually overcome the music at the end of the symphony, the London players made Avery Fisher Hall sound more alive than most orchestras do at their loudest.
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