Review: Dudamel is finally back at the Bowl and blissfully all over the musical map

As a long-time follower of classical music and the Los Angeles Philharmonic, I have been privileged to witness the remarkable journey of Maestro Gustavo Dudamel from his U.S. debut at the Hollywood Bowl to his current position as the orchestra’s music director. It has been an inspiring transformation to see a baby-faced 24-year-old conductor face adversity, such as police helicopters and car alarms during his performances, and grow into the charismatic figure he is today.

In the final week of the 2005 Hollywood Bowl season, a baby-faced conductor made his U.S. debut facing a weary Los Angeles Philharmonic in a program that ended with Tchaikovsky’s Fifth Symphony. If the performance was “a tad cautious,” perhaps that’s because the 24-year-old maestro had a police helicopter buzzing throughout the first movement and a car alarm blasting out a 4/4 rhythm during the third movement’s 3/4 waltz.

Nevertheless, it was an exceptional evening, with the lively orchestra and audience both captivated, and the event etched into the annals of the Hollywood Bowl. Four years later, the same conductor returned to create history once more at the Bowl by conducting Beethoven’s Ninth Symphony in a special free concert. Transmitted globally, “Welcome Gustavo!” marked the commencement of Gustavo Dudamel’s tenure as music director for the L.A. Phil.

Giancarlo Dudamel has come back to the Bowl to lead the final two weeks of this summer’s performances, now recognized as his Hollywood Bowl. The upcoming significant concerts are undoubtedly at the forefront of his thoughts. He resumed with Tchaikovsky’s Fifth Symphony and will conduct Beethoven’s Ninth on Tuesday evening.

It’s been quite some time since Dudamel showed a hint of caution at the Bowl, yet now he appears eager to try out almost anything. For this daring music director, these past two weeks are unlike any other he has experienced at the Bowl, and they stand apart from any similar period anywhere else. It’s evident that Dudamel is thinking about his departure from the Bowl after the summer of 2026, when he will take on the role of music director for the New York Philharmonic. However, he assures us that he intends to return as a guest conductor every summer.

Currently, Dudamel is wrapping up the final 15 days of the summer season at the Bowl with six diverse performance lineups. Based on my calculations, over 125,000 people are expected to attend the sold-out weekend concerts featuring popular music and Tuesday and Thursday classical performances. Although the L.A. Phil doesn’t release attendance figures anymore, these numbers would make any pop star or politician green with envy.

It’s fascinating to note that programs as dissimilar as these draw such diverse crowds. I might have been among the rare individuals, aside from L.A. Phil and stadium administrators, who experienced them all. In truth, there were moments when I questioned my presence, but Dudamel always seemed completely at ease.

Tchaikovsky’s piece was daring, invigorating, playful yet fiery, energetic, meticulously detailed, and performed with a blazing intensity and passion. A sense of caution was maintained, but a fresh, exhilarating spontaneity was introduced that Dudamel hinted at 19 years ago, though he hadn’t fully achieved it then.

Yunchan Lim, the 20-year-old Korean pianist, played with a touch of unexpected carefulness in Beethoven’s “Emperor” Concerto, which was followed by Tchaikovsky. Although his elegant maturity and flawless execution were undeniable, he seemed to be aiming for a meticulous performance that ran smoothly. He is an exceptional talent who received excellent backing from Dudamel. However, it seems he’s rising too quickly as a star.

On a subsequent evening, Dudamel led the L.A. Philharmonic in the debut performance of “Marvel Studios’ Infinity Saga Concert Experience” before an eclectic audience. Scenes brimming with action from 25 Marvel films unfolded on screens large and small. The stage was transformed by immersive lighting and projections. The music and sound effects resonated strongly, delighting the crowd who eagerly purchased merchandise as if Marvel was about to close down its operations.

Dudamel wasn’t obligated to participate, but he seemed eager and enjoyed himself immensely. However, this performance will be conducted by others as it tours, which might not concern most Marvel enthusiasts. If you’re not a Marvel fan, the music holds little significance for you. I chose to depart during the intermission.

Over the weekend, sold-out concerts presented an entirely distinct atmosphere. Apart from John Adams’ “Short Ride in Fast Machine,” which was exceptionally captivating among frequently played concert openers, the lengthy event primarily featured Mexican music, with Natalia Lafourcade as the main act. She performed approximately 90 minutes of her own songs alongside the L.A. Phil, and concluded the night with a cabaret-style setting.

Instead of the intense, testosterone-driven vibe of Marvel’s universe, Lafourcade infused an undeniably gentle and personal warmth. Her songs, without needing translations, had an enchanting effect.

In addition to compositions in 2017, such as “Danzón No. 9” by Arturo Márquez and “Antrópolis” by Gabriela Ortiz (both hailing from Mexico City), were pieces that garnered near-standing ovations. Dudamel not only premiered “Danzón No. 9,” but also commissioned it. Meanwhile, “Antrópolis,” which evokes the atmosphere of ’80s dance halls in Mexico City, was specifically written for Carlos Miguel Prieto, who previously led performances at the Bowl during this season.

During these larger-scale weekends, Dudamel orchestrated an unusual concert series. This program started off playfully yet impressively with a rendition of Saint-Saëns’ “Carnival of the Animals,” featuring pianists Sergio Tiempo and Karin Lechner. Additionally, there was animated film and captivating narrations by Dudamel’s son, Martín, adding to the charm.

In the second half, Dudamel shared with us, he presented snippets from an opera titled “Carmen” that delves into themes of love, vices, and violence. Unfortunately, Martin wasn’t permitted to narrate these scenes. However, the captivating energy and sensuality displayed by mezzo-soprano Rihab Chaieb during her performance was nothing short of remarkable, making it a challenge for any future performance to surpass. If Dudamel decides to venture into opera when he joins the New York Philharmonic, as I suspect he will, the Metropolitan Opera might find itself facing some competition.

As a devoted cinema-goer, I find myself reflecting on the evolving journey of Maestro Gustavo Dudamel at 43. He’s in a period of transition as a conductor, and it’s uncertain if he’ll ever encounter such abundant opportunities elsewhere to pour his heart out for so many. New York City harbors dreams of another Bernstein, but what it’s actually receiving is an L.A.-style Dudamel – quite distinct from the original. The recent two weeks at the Hollywood Bowl serve as a testament to this difference.

Indeed, Dudamel carries forward a powerful message from Bernstein at the Bowl. Before playing Beethoven’s Ninth Symphony on Tuesday, he plans to perform “Chichester Psalms” by Bernstein first. These uplifting pieces advocate for brotherhood, unity, and peace – fittingly following a presidential debate.

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2024-09-10 22:31