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How the storied Vienna Philharmonic returned to SoCal for the first time in a decade

BBG News

For about 11 years now, the Vienna Philharmonic has graced our presence with their enchanting performances. In this esteemed group of musicians who share a common vision, the performance itself serves as an extraordinary blend of the message and the experience it conveys. The orchestra creates a sensation of sound that is at once ethereal and tangible.

This week, the orchestra’s performances at Renée and Henry Segerstrom Concert Hall in Costa Mesa maintained their long-standing traditional character. Over time, the ensemble has seen an increase in international members, with more women now joining what was once a predominantly male group. The concerns of older musicians that introducing diversity would weaken the orchestra’s distinctive Viennese sound – a unique blend of instruments celebrated globally – were found to be unwarranted.

In essence, the usual selection of pieces remains unchanged. On this particular tour, works by Beethoven, Schubert, Dvorák, and Richard Strauss were scheduled to be performed – no compositions from the past 125 years were included.

One method for preserving a glorious past could be allowing the musicians to lead the performance, as there’s no permanent music director guiding them. Essentially, each conductor is a visiting guest, invited by the musicians themselves. They strive to handle every Mozart composition or Beethoven symphony, along with every Viennese waltz, with utmost care and respect, treating these pieces as cherished heirlooms from the past.

Being Viennese implies a readiness for the occasional romantic adventure or two, and history shows that this prestigious orchestra has had entanglements with unexpected figures like Leonard Bernstein and Pierre Boulez. Presently, they hold admiration and respect for Esa-Pekka Salonen, and have deep affection for Gustavo Dudamel. The sound of the Vienna Philharmonic is so rich that it’s hard for even the most disciplined conductors to resist its charm. A conductor like Salonen or Dudamel can persuade the Viennese to embrace novel experiences.

Yannick Nézet-Séquin, the man behind Segerstrom’s concerts, also boasts a lasting bond with the Vienna Philharmonic. This talented French Canadian conductor, now 50 years old, holds significant roles on the East Coast as both the music director for the Metropolitan Opera in New York and the Philadelphia Orchestra. His influence extends across Europe and he is extensively recorded.

Although Nézet-Séquin has only performed with the Los Angeles Philharmonic once, 16 years ago, it doesn’t mean he isn’t interested in L.A. In fact, he cancelled a chamber music concert at Carnegie Hall to attend the Hollywood premiere of “Maestro,” showing his dedication by contributing to its bland soundtrack, which was a Leonard Bernstein biopic.

Nézet-Séquin’s appeal isn’t due to plainness; instead, it might be because he allows Viennese people to indulge themselves, sometimes even causing a bit of breakage as he embraces extravagance in his pursuit of grandiose performances. It’s worth noting that passion in music, art, and literature is one of Vienna’s significant contributions to the world.

Nézet-Séquin isn’t popular due to simplicity; rather, it could be because he encourages Viennese people to let loose, even if it means knocking over a few vases in his pursuit of extravagant performances. It’s important to remember that passion in music, art, and literature is one of Vienna’s significant cultural offerings to the world.

At Segerstrom, Nézet-Séquin enjoyed a unique edge. The venue opened not long after Marian Anderson Hall (previously known as Verizon Hall) in Philadelphia, boasting a similar yet refined acoustic layout designed by Russell Johnson. With his 14th season underway with the Philadelphia Orchestra, Nézet-Séquin is well-versed in manipulating Johnson’s adjustable sound-amplifying features.

The Vienna Philharmonic produced extraordinary outcomes during their performance. Instead of the rich, echoing sound quality typical of the Musikverein, their music seemed almost like 3D effects in a movie, with crescendos that sounded louder than expected without the use of amplification. Even the softest notes from violas, cellos, and basses during Dvorák’s “New World” Symphony had an intense depth that exceeded what even top-quality headphones could offer. As a listener, it was challenging to keep up with their extreme dynamics, leaving one almost out of breath.

In this pair of programs, each one featured a composition from the early 19th century classical era and ended with a piece from the late 19th century romantic era. On Sunday afternoon, Beethoven’s Third Piano Concerto served as the opener, with Yefim Bronfman as the powerful, rhythmically precise, and expressive soloist. When given the chance, Nézet-Séquin provided sharp orchestral accents, but otherwise allowed the orchestra to provide unobtrusive support for the dominant pianist.

In the second part, Strauss’ “Ein Heldenleben” was played, creating quite a sonic spectacle. This isn’t something new; many years ago, a young Zubin Mehta left Angelenos in awe with his rendition of “Heldenleben,” and his Los Angeles Philharmonic recording remains impressive to this day. Daniel Barenboim previously led an impressive performance of “Heldenleben” at Segerstrom Center’s older, acoustically problematic hall, when the Vienna Philharmonic visited earlier.

In Nézet-Séquin’s rendition, Strauss’ character maintained an awe-inspiring presence beyond ordinary life. The brass echoed powerfully, the winds screeched, and the timpani roared as if this conqueror of music critics and lover were a superhero like Captain Marvel. Yet, the true marvel here lies in maintaining a sense of refinement without resorting to vulgarity. Despite the orchestra being played with great intensity, it never gave an impression of strain.

The second performance on Tuesday evening was similar in many ways, featuring Schubert’s Early Fourth Symphony and Dvorak’s “New World.” In the Schubert piece, Nézet-Séquin opted for dramatic Beethoven-like elements that seemed to push Schubert’s composition to its limits. On the other hand, in the “New World,” it appeared as though Nézet-Séquin aimed to surpass all others by making it a more voluminous, softer, slower, and faster environment. He possessed the resources, the ideal acoustics, and the influence to inspire the orchestra to deliver an unmatched performance at its best.

The crowd leaped up, exhilarated by the grandeur of it all. Yet, it was merely an hour of grandeur, not a glimpse into a fresh realm.

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2025-03-15 03:31

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