Will it be Elim Chan? A potential Dudamel successor makes magic in her L.A. Phil Hollywood Bowl debut

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As a film enthusiast with a deep appreciation for classical music and a particular fondness for the Los Angeles Philharmonic, Tuesday night at the Hollywood Bowl was a truly special experience for me. The warm evening breeze carried the promise of a magical musical journey, and I couldn’t wait to see Conductor Elim Chan make her debut with the orchestra.

On the opening night of the Los Angeles Philharmonic at Hollywood Bowl, the weather was delightful. A sunny afternoon gave way to an enjoyable evening, carrying a gentle chill in the air as the sun set. The updated parking arrangement, featuring fewer spaces and expanded options for public transport and ride-sharing, seemed to be functioning efficiently.

The symphonic suite “Scheherazade” by Rimsky-Korsakov has been a captivating classic that has traveled beautiful, vibrant waves through the Cahuenga Pass for over a century. Yet, during this last century, it has never sounded more brilliant, revitalized, and enticing than it did then. This was due to both the impressive skills of the orchestra and the exceptional amplification they employed.

As a dedicated classical music enthusiast who has attended numerous performances at the iconic Hollywood Bowl over the past 15 seasons, I have grown fond of Gustavo Dudamel and his inspiring leadership as music director. However, this year marks a significant departure from tradition: for the first time, Dudamel himself will not make an appearance until the summer’s final weeks.

I, an ardent fan of classical music, recently came across Elim Chan, the talented music director of Antwerp Symphony Orchestra in Belgium. She may not be a household name yet, but trust me, that’s about to change. Her first recording with her orchestra has just hit the shelves, and let me tell you, it’s nothing short of spectacular. The grand finale is an exquisite rendition of Ravel’s “Daphnis and Chloé” second suite, leaving listeners in awe.

As a movie critic, I’d put it this way: Next week in London, I’ll have the privilege of kicking off the Proms, the world’s most renowned classical music festival. With an irresistible invitation extended to me, I’ll be at the forefront of this global phenomenon. Not only will my presence be felt in person, but my influence will extend far beyond the concert halls thanks to BBC Radio 3’s livestreams of each night’s performances, making it an unparalleled experience for music lovers around the world.

In Los Angeles, Chan’s performances at Walt Disney Concert Hall have made quite an impression. Last year, she gained unwanted viral fame following her rendition of Tchaikovsky’s Fifth Symphony with the L.A. Phil. An audience member had an audible outburst during the performance, which some speculated was a sign of pleasure. More recently, in October, Chan’s interpretation of Rachmaninoff’s Symphonic Dances left the orchestra exhilarated. Whispers started circulating that the 36-year-old conductor from Hong Kong was a strong contender for the next music director position. Some industry insiders were convinced it had already been decided.

It’s yet to be determined if Kim Noltemy, who started as the new president and CEO of the L.A. Phil on Monday, will maintain her low-key approach during music director auditions, which began Tuesday night and will continue with future performances featuring other candidates.

At the Hollywood Bowl, rehearsal time is often scarce, with only the morning of the performance available. The opinion of the sound engineers significantly influences the audio balance during concerts. Additionally, the video feed can serve as an asset or a hindrance to the overall experience.

At the Hollywood Bowl in 2005, an unrecognized 24-year-old Gustavo Dudamel wowed audiences with his debut performance. In 2014, an obscure 28-year-old Mirga Grazinyte-Tyla did the same. However, when a less recognized Kirill Petrenko took the stage at the Bowl in 2007, the current acclaimed music director of the Berlin Philharmonic was not a good fit for the venue.

Elim Chan at the Bowl on Tuesday.
(Gina Ferazzi / Los Angeles Times)

On Tuesday night, it wasn’t hard to predict that things would go as expected. Chan was truly at home on the stage. With the first notes of Korean composer Unsuk Chin’s “subito con forza” (suddenly with power), she made her presence known in under 10 seconds. This piece, commissioned for the Proms in 2020 as a Beethoven tribute, features an iconic opening reminiscent of Beethoven’s “Coriolan” overture. The powerful long C in the strings and the sudden, forceful staccato chord from the orchestra are two signature elements that capture everyone’s attention.

Despite Chin’s sudden interruption, the music came to a halt with chaotic percussion, shrill violin harmonics, and ominous cello drones. In an instant, we found ourselves in an unfamiliar yet captivating realm. Conducting the L.A. Philharmonic, Chan wielded not only a baton but also expressive fingers and facial expressions that added to the sense of amazement.

Soloist Augustin Hadelich performs with the L.A. Phil at the Bowl.
(Gina Ferazzi / Los Angeles Times)

In the performance of Prokofiev’s Violin Concerto No. 2, Augustin Hadelich assumed the leading role with his authoritative solo playing, taking a secondary position for She. However, she regained her spotlight as an enchanting storyteller in “Scheherazade” by Rimsky-Korsakov, where various instrumental solos were showcased. Orchestral musicians delighted in their moments to shine, and their personal touches added depth to the music. On the large video screens and to the audience, it appeared as if each musician was casting a vote for her performance.

Nathan Cole had an exceptional violin performance during an already magnificent night. As concertmaster, he shined in renditions of Scheherazade’s enchanting solos. However, another transformation is taking place in L.A. Phil harmony: beginning Friday, Cole will debut as the new concertmaster for the Boston Symphony. This significant change finds him joining the orchestra at Tanglewood for a performance of “Scheherazade,” led by BSO Music Director Andris Nelsons.

Cole, currently a co-principal second violinist for the Los Angeles Philharmonic and set to assume the role of first associate concertmaster at his new position, marks the next stage in the integration of the Boston Symphony’s leadership with the L.A. Phil. This development is particularly significant given that the Boston Symphony is now led by former L.A. Phil President and CEO Chad Smith. However, it remains to be seen exactly what this transition entails as the L.A. Phil embarks on a new phase, entering uncertain waters with minimal public disclosure.

To begin with an uncomplicated and clear suggestion, Maestro Noltemy could propose a simple modification for this year’s Hollywood Bowl program book. Instead of listing the L.A. Phil board members next to his welcoming message on Page 4, as is currently done, he might suggest placing it where the musician roster is located, which can be found on Page 60. This change would emphasize the importance of recognizing the orchestra before the musicians.

An easy second step may have just become evident at the Hollywood Bowl.

Chan’s rapport with the L.A. Phil was evident.
(Gina Ferazzi / Los Angeles Times)

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2024-07-18 20:38