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Best of 2024: Eleven bright spots in classical music during a dark, complicated year

BBG News

As a seasoned music connoisseur with decades of listening under my belt, I must say that this year has been a veritable feast for the ears. From the grandeur of the San Diego Symphony’s new concert hall to the vibrant energy of the L.A. area’s newest performing arts center, Sierra Madre Playhouse, it seems that every corner is humming with music.

2020, a year filled with discord, distraction, conflict, and intolerance, has seen classical music standing at the forefront. Simultaneously, an incident involving a pro-Palestinian student encampment at UCLA, which was violently attacked in April, occurred on the same day as the final day of the Hear Now festival of Los Angeles new music. This event culminated with the performance of George Lewis’ “Lonnie and Lonie,” a double concerto that bridged the musical gap between two individuals holding contrasting worldviews.

In the midst of division, orchestras led by young musicians from opposite sides of Venezuela proved they could collaborate harmoniously, forming a unified children’s symphony. Similarly, the West-Eastern Divan Orchestra brought together talented young musicians from Israel and neighboring Arab countries, demonstrating that they too could work in unity.

Entertainment & Arts

2024 saw these youth orchestras – the National Children’s Symphony of Venezuela, the West-Eastern Divan Orchestra, and the Colburn Orchestra – captivate audiences with their exceptional performances, as detailed by our esteemed classical music critic.

In the aftermath of the intense U.S. presidential elections, it was groups like Brightwork on election night and Wild Up during their “Democracy Sessions” over the weekends who fostered a sense of unity. These performances culminated in a soothing, contemplative finale. It’s been a challenging and impactful year for all.

An L.A. Phil year

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Raehann Bryce-Davis performs Wagner’s “Das Rheingold” with the L.A. Phil, captured by Allen J. Schaben for the Los Angeles Times at Walt Disney Concert Hall.

In January, Frank Gehry transformed the extraordinary Walt Disney Concert Hall into a contemporary Wagner tribute for the 21st century, featuring a set he designed to provide Gustavo Dudamel, the Los Angeles Philharmonic, and singers with incredible creative freedom in a staged performance of “Das Rheingold.” During the spring, Dudamel reprised the exceptional L.A. Phil production of Beethoven’s “Fidelio” with Deaf West Theatre and brought it to Europe. Following that, the orchestra welcomed Kim Noltemy as its new president and CEO, and Dudamel organized an international youth festival over the summer. By autumn, Dudamel and his team were on tour for Carnegie Hall’s opening night gala. Most recently, the L.A. Phil put together a groundbreaking musical event, “Noon to Midnight.

Esa-Pekka in Sad Francisco

As a passionate cinema-goer, I’ve always looked forward to the cinematic symphonies that unfold before me in grand concert halls. In March, the maestro Esa-Pekka Salonen brought John Adams’ “Naïve and Sentimental Music” to life on a San Francisco Symphony tour at Disney Hall, offering an uplifting demonstration of why this orchestral piece deserves a place among the elite American symphonies. Back in our beloved city, Salonen led a breathtaking performance of Bruckner’s Fourth Symphony, showcasing the true potential of our orchestra. It was even recognized with Grammy nominations for its recording of Kaija Saariaho’s opera “Adriana Mater.” Unfortunately, the shortsighted San Francisco Orchestra board has failed to embrace Salonen’s visionary leadership. He will be leaving us at the end of this season.

A Yuval Sharon surge

This has been the year that the 45-year-old L.A.-based opera director rose to the top.

In Detroit Opera, he left a spellbound audience captivated by John Cage’s “Europeras 3 & 4.” He crafted the opera of the year, “The Comet/Poppea,” a novel masterpiece by George Lewis, which was ingeniously presented alongside a timeless Monteverdi classic for The Industry, an avant-garde L.A. company co-founded by Sharon. He also accepted an invitation from the Metropolitan Opera to direct future Wagner productions of “Tristan und Isolde” and the “Ring” cycle.

He published his thought-provoking “A New Philosophy of Opera,” an indispensable handbook for making opera matter in the 21st century.

Ojai moments

At this year’s Ojai Music Festival, which she directed, renowned pianist Mitsuko Uchida started off with Schoenberg’s “Six Little Piano Pieces,” Opus 19. The third piece is just nine bars that play for less than a minute, but Uchida made it feel like an endless journey through a cosmos filled with shimmering galaxies. Her performance of Mozart was equally impressive. Moreover, the festival introduced Ljubinka Kulisic, a talented accordionist who left everyone in awe (the newcomer of the year).

Unforgettable festival

At the Salzburg Festival this year, they’ve truly outdone themselves. Opera performances such as Peter Sellars’ stunning rendition of “The Gambler,” the unveiling of Mieczysław Weinberg’s overlooked “The Idiot,” and the flawless execution of Mozart’s “Don Giovanni” by Teodor Currentzis, are simply exceptional. However, what truly stands out is the international perspective that this Austrian city showcases through its diverse events. It serves as a powerful example of how artists from different regions, even amidst conflict, can engage in high-level cultural diplomacy.

POP pops up

As a devoted moviegoer, I must say that the Pacific Opera Project, L.A.’s quirkiest opera troupe, has outdone itself in terms of sheer goofiness with their recent revival of Antonio Cagnoni’s “Don Bucefalo.” This 19th-century satire has never been funnier, and the company has managed to make its goofiness shine brighter than ever.

Wild Up wild ups

1) Wild Up challenges traditional orchestra norms, with founder and conductor Christopher Rountree steadfastly pursuing his tireless goal of championing the music of Julius Eastman. This commitment led to the release of Eastman’s latest vibrant recording, which has been nominated for a Grammy, as well as the orchestra’s European premiere at Ruhrtriennale in Germany, featuring an Eastman-centric program that radiated unbridled energy, as demonstrated by its broadcast on radio.

Kronos goodbye and hello

At their yearly San Francisco festival in June, the Kronos Quartet bid adieu to two longtime members, violinist John Sherba and violist Hank Dutt. Over 1,000 new compositions, which have significantly impacted chamber music globally, were shaped by these integral quartet members. The fresh Kronos lineup, featuring founder David Harrington alongside three newcomers (Paul Wiancko and additions Gabriela Díaz and Ayane Kozasa), made its first appearance in Europe during the autumn season.

New life for old movie theaters

The San Diego Symphony finally has a concert hall worthy of the excellent orchestra and its exciting Venezuelan music director, Rafael Payare, thanks to the renovation of its century-old former movie palace. Meanwhile the Sierra Madre Playhouse, built for the silents, has become the L.A. area’s newest performing arts center, where Wild Up will be in residence.

New life for an old parking lot

In the heart of downtown L.A., The Colburn School initiated the construction of the Gehry-designed Colburn Center, a 1,000-seat performance venue, located at the intersection of 2nd and Olive streets (previously occupied by a parking lot owned by The Times). This new hall is expected to add more vibrancy to Grand Avenue as a popular arts hub.

‘Distracted Tymes’

375 years ago, Thomas Tomkins composed “A Sad Paven for These Distracted Tymes.” During his time, the only screens that could have captured his attention would have been decorative partitions. However, this poignant and longing six-minute pavan, designed for a group of viols, serves as the title track on the latest recording by Ricercar Consort. It transcends centuries, making it one of the most relevant releases of the year.

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2024-12-06 02:45

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