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Column: Gustavo Dudamel and the L.A. Phil kick off a new season from coast to coast, with intriguing choices

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Column: Gustavo Dudamel and the L.A. Phil kick off a new season from coast to coast, with intriguing choices

As a seasoned movie-goer and music enthusiast who has attended countless performances at the Dorothy Chandler Pavilion, I must say that the recent collaboration between Gustavo Dudamel and the Los Angeles Philharmonic has been nothing short of breathtaking. The fusion of classical music with contemporary interpretations of Shakespeare’s “A Midsummer Night’s Dream” was a captivating spectacle that showcased the versatility and sheer brilliance of both the orchestra and the L.A. Master Chorale.

15 years ago, Gustavo Dudamel took over as music director for the Los Angeles Philharmonic, an orchestra that under Esa-Pekka Salonen’s leadership had earned the title of America’s orchestra of the future, playing a lot more contemporary music than other ensembles. In response, Dudamel chose to commission and debut even more works. His inaugural gala featured the premiere of John Adams’ symphony “City Noir,” while his first regular subscription concert showcased Unsuk Chin’s “Su.” This marked the start of a tradition where each season would open with a premiere, which has significantly impacted Los Angeles and beyond.

This year, unlike in past decades, the L.A. Phil gala didn’t offer an unexpected October event. Instead, it showcased Lang Lang as soloist in Rachmaninoff’s Second Piano Concerto alongside Ginastera’s ballet “Estancia,” a piece that Dudamel often performs. True to form, Dudamper kicked off the season with the debut of a significant cello composition by Gabriela Ortiz and a fresh take on Mendelssohn’s “A Midsummer Night’s Dream,” starring Spanish actress María Valverde.

It appears that the repetitive gala you regrettably missed, featuring Julia Bullock’s performance of “Harawi,” was held because Dudamel and the orchestra were in New York this week to perform the same program at Carnegie Hall’s grand opening night. This may seem risky for a major fundraising event in a city where Ginastera’s ballet is not widely recognized. On the other hand, the New York Philharmonic will soon follow up on the 15-year-old “City Noir” when Adams conducts it next month.

Two years prior to Dudamel assuming leadership at the New York Philharmonic, the excitement surrounding Dudamel, often referred to as “Dudamel-mania,” made its way to New York City. This was marked by three performances by the Los Angeles Philharmonic (LAPH) at Carnegie Hall. After the grand event, a reprise of the Ortiz-“Midsummer” program, with Ortiz being Carnegie’s composer-in-residence for this season, and the concert Dudamel performed with Natalia Lafourcade at the Hollywood Bowl last month, were presented. In the near future, the LAPH plans to bring these three programs, heavily featuring Latin American music, to Bogotá, Colombia.

Dudamel and Ortiz share a very close bond. Their latest collaborations with the L.A. Philharmonic, two commissioned pieces – a violin concerto titled “Altar de Cuerda” and the ballet “Revolución Diamantina,” have just been recorded by the orchestra. These new works significantly enrich the contemporary music scene.

Titled “Dzonot,” Ortiz’s latest cello concerto, composed for Alisa Weilerstein, draws its name from the Mayan term for a chasm or abyss. In mythology, it symbolizes both the origin of life and the gateway to the dark underworld. The piece is rich with auditory depictions that traverse between earth and subterranean realms, delving into the depths of subterranean rivers and soaring upwards towards the skies, where the endangered toh bird resides.

In “Altar de Cuerda,” Weilerstein’s solo cello doesn’t grab attention like the violin does. Instead, it seems to blend into a strange, hidden Mayan world, filled with mystical gods and creatures. At times, she sounds like a bewitched jaguar in one movement, while in another, her playing resembles the tune of a toh. The rainforest surrounds everything, the orchestral percussion is both rich and intriguing.

This staging of “A Midsummer Night’s Dream” aligns remarkably with the work, being jointly helmed by Dudamel’s frequent partner, Alberto Alvero. The focus falls on Valverde, who recited various roles from a Spanish interpretation of Shakespeare. Agile and swift, Valverde’s portrayal of Puck seems to morph into a toh bird. Bottom is depicted in Mendelssohn’s overture with a jaguar-like essence. The vocal pieces – sung by Jana McIntyre, Deepa Johnny, and the Los Angeles Master Chorale – are delivered in their original English.

Arvelo expresses in his program notes his captivation by cultural adaptations: he contemplates how Shakespeare’s works sound in Spanish, how “A Midsummer Night’s Dream” transforms when a German composer reinterprets it, and what becomes of the play as artists from various eras and cultures depict it (paintings were displayed above). He also wonders about the effects of Hollywood’s creative influence, referencing clips from Max Reinhardt’s 1935 classic.

A significant portion of the performance was fast-paced, making it challenging for viewers, particularly those who tried to follow along with the English subtitles. The question of where to focus one’s attention and what to listen out for added to the confusion. The LA Philharmonic played exceptionally well, transforming Disney into a magical wonderland. Valverde, Dudamel’s spouse, performed with a mystical quality reminiscent of a magician. As the performance transitioned from Disney to the grand, traditional Carnegie Hall, additional translations were provided.

Column: Gustavo Dudamel and the L.A. Phil kick off a new season from coast to coast, with intriguing choices

The involvement of the L.A. Master Chorale was quite impactful. Although their role in Mendelssohn’s composition is minor, they added a magical touch that made it even more enchanting. However, such high-caliber casting wasn’t economically feasible for the L.A. Philharmonic’s tour.

Not only was the Master Chorale engrossed in its own activities, but three days later, it celebrated its 60th anniversary at Disney. The Master Chorale shares a significant partnership with the L.A. Philharmonic. Established by Rodger Wagner, the Master Chorale serves as a resident company at the Dorothy Chandler Pavilion, which was constructed for the L.A. Phil and opened on December 6, 1964.

Although the Music Center doesn’t thus far seem to be giving this anniversary much attention, the Master Chorale had a special program Sunday of 22 short, mostly a cappella pieces that ranged from the 16th century to the present. They were meant to show the range what has become, under Grant Gershon, one of the most versatile, to say nothing of the finest, choruses in America.

The chorus is incredibly versatile, playing a vital role both independently and in partnership with the L.A. Phil. On this occasion, there were no compositions by Philip Glass, Meredith Monk, Steve Reich, Nico Muhly, or other artists that Gershon has supported during his 23-year tenure as music director.

Instead, there were numerous compositions, many from lesser-known artists, as well as Bruckner motets, snippets of Tchaikovsky and Rachmaninoff, and Bernstein. It’s doubtful that anyone other than Gershon would have been familiar with all the composers, such as Juan Gutiérrez de Padilla (1590-1664) or Robert Lucas Pearsall (1795-1856). Notably, pieces by the late Elinor Remick Warren, who composed the chimes theme for Dorothy Chandler’s pavilion upon commission, were also included.

Surprisingly, what initially appeared as an extensive collection of miscellaneous items turned out to be a beautiful strand of precious gems. Each item may not have been significant or vital, but they all held a unique charm, reminding us that the enchanting harmony in Disney’s chorus is a breathtaking experience found nowhere else.

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2024-10-12 21:01

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