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Why the L.A. Phil’s Handel festival was downright revelatory

BBG News

1707 saw George Frideric Handel, a 22-year-old innovative composer based in Rome, shocking both the Vatican and the public with “Il Trionfo del Tempo e del Disinganno” (The Triumph of Time and Disillusion). This opera, presented as an oratorio to bypass the church’s prohibition on secular operas, was a bold work that explored themes of past and present, embodied as a struggle between extravagance and piety. Handel’s early masterpiece, reflecting our human preoccupation with beauty and duty, continues to resonate as relevant today as it was titillating back then.

240 years after the event, another young visionary named Pierre Boulez embarked on his Second Piano Sonata at the age of 22. This audacious and unconventional composition left civilized Parisian salons astounded by its jarring discordance. However, it was this intricate and confrontational sonata that served as a catalyst for the European post-World War II avant-garde movement, paving the way for music that would break new ground.

On what would have been Pierre Boulez’s 100th birthday last Wednesday, a tribute to his work was paid in various ways this season. Among these celebrations, a young pianist named Thomas Mellan, known for his love of death metal and wild playing style, stood out by passionately performing Boulez’s Second Sonata during the Piano Spheres series at the Colburn School. The following night, just across the street at Walt Disney Concert Hall, the Los Angeles Philharmonic concluded a remarkable week-long Handel Project with “Il Trionfo”. This project marked the beginning of French conductor and harpsichordist Emmanuelle Haïm’s new three-year role as the orchestra’s artistic collaborator.

It’s quite remarkable that these uncommon works would appear consecutively, and while it may not seem as surprising given the connections, it’s still worth noting. Boulez had a close relationship with Leonard Stein, founder of Piano Spheres (who presented the second sonata in L.A. for the first time in 1963), and also with the L.A. Philharmonic, who are planning to honor Boulez next month.

Haïm has shattered the boundaries of Baroque music in her unique style. She made a striking debut with the L.A. Philharmonic in 2011, infusing Handel’s compositions with an unrestrained sensuality. With each subsequent performance, she has given a fresh, contemporary feel to Baroque music, making it seem as unpredictable and versatile as Pierre Boulez’s work. Her choice of artistic collaborator mirrors that of opera director Yuval Sharon, who is recognized for his disruptive approach in the art world, a title that also fits Haïm perfectly.

Approximately nine years ago, Haim served as the conductor for a controversial production of “Il Trionfo” during the summer festival in Aix-en-Provence. This performance incorporated a video clip of the French intellectual Jacques Derrida, who was often criticized for similar effects on literary studies that Boulez had on music, and conversely. Additionally, Haim had previously recorded “Il Trionfo” in 2004 at IRCAM, the Paris-based computer music institute founded by Boulez.

Haim brilliantly orchestrated “Il Trionfo” at Disney Hall. Her Handel Project encompassed three series of performances. For the L.A. Phil’s regular subscription concerts during March 21-23, she led performances of Bach’s Magnificat and Handel’s “Dixit Dominus.” This was preceded by two programs featuring Haim’s own captivating period instrument ensemble, Le Concert d’Astrée. These programs showcased a Rameau/Handel selection, emphasizing rich textures. “Il Trionfo” was the final performance. The L.A. Phil did not skimp on expenses, as they flew Haim’s 25-member choir from Paris, along with eight exceptional vocal soloists, for this event.

Handel’s “Dixit Dominus,” written the same year as “Il Trionfo” and serving as the opener for Haïm’s L.A. Phil program, was filled with an operatic flair – a striking quality even for a religious composition. Unlike “Il Trionfo,” it steers clear of controversy by offering pure delight to listen to and refraining from exploring more daring human desires. At Disney Hall, it brought nothing but joy. Haïm’s gifted d’Astrée choir truly impressed with their virtuosity. The L.A. Phil delivered an exceptional imitation of playing period instruments that I have experienced. With Bach’s Magnificat and a reprise of “Happy, Happy Shall We Be” from Handel’s “Semele,” “Dixit Dominus” ensured that happiness reigned supreme. Widespread smiles graced both the stage and the audience.

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At the upcoming concert on March 25th, Handel’s “Ode for St. Cecilia’s Day,” a musical rendition of John Dryden’s poetry, is a safe bet for music enthusiasts. This “Ode” joyously and vibrantly explores the marvels of music through its composition and ingenious instrumental designs. Handel revels in the powerful trumpet, the melodious flute, the enchantment of harmony, the ability of music to subdue wildness and unveil glimpses of the unknown. Haïm’s message to her choir ensemble and soloists, soprano Elsa Benoit and tenor Eric Ferring, appears to be a simple one: Infuse every note with an even deeper sense of joy.

The optimistic, emotionally charged approach to “Il Trionfo” made it seem even more groundbreaking by challenging both musical conventions and psychological norms. Facing truth and disenchantment prompted Handel to repeatedly revisit this piece throughout more than five decades, revising it on two occasions (the final time near the end of his life), transforming it into the mature and grandiose “The Triumph of Time and Truth.” However, it is the boldness of the allegorical audacity shown by a young prodigy that remains most significant.

As a movie critic, I found myself captivated by the four main characters: Youth, Indulgence, Time, and Disenchantment. Youth was a picture of youthful vanity, basking in her prime. Indulgence whispered reassurances that she could maintain this eternal youth, so why not seize the moment? Yet, Time cautioned against such hasty decisions. Disenchantment urged her to confront reality, the path to redemption lay in facing the facts. Reluctantly, Youth heeded Disenchantment’s advice after a defiant 2 ½ hour standoff.

In my opinion, Unbridled Joy proves unconquerable. She stands ever-poised for her next unsuspecting target. She revels in the here and now, unwilling to let go of even a fleeting instant. It isn’t until we confront our own limitations that Concepts like Time and Disenchantment cease to be mere abstractions, forcing us to confront their very real impact on ourselves.

Haïm’s singers – Benoit (representing Beauty), Julia Lezhneva (symbolizing Delight), Iestyn Davies (expressing Disenchantment) and Petr Nekoranec (embodying Time) – each delivered compelling performances. Typically, Pleasure is portrayed as a smooth-talking charmer, but Lezhneva’s captivating interpretation of Delight presented more like a spectral wanderer, a haunted soul in search of self-validation instead of ensnaring victims.

In one of his most touching and well-known arias, “Lascia la spina” (Leave the thorn), Handel wrote for Pleasure. This aria laments to take the rose and leave the thorn behind. Later, Handel incorporated it into his opera “Rinaldo.” During the Thursday performance, Haïm drove the pace with such intensity that there was no opportunity for audience applause between the powerful arias. The captivating performance of Lezhneva’s “Lascia” left the entire audience holding their breath in awe.

In today’s world, there is scarcely anything comparable to the groundbreaking innovations of musicians like a 22-year-old visionary, much in the vein of Handel and Boulez. We live in an era marked by radical change, evident in the dynamic strategies emerging from Silicon Valley and the restructuring of government institutions. However, unlike these contemporary forces, Handel and Boulez demonstrated a unique approach. They might have been bold in their insistence that the world prepare for a novel path. Yet, they dismantled outdated classical frameworks within which they were thoroughly trained, recognizing what was effective and what required replacement. They moved forward with foresight, envisioning where the newfound liberty would lead them. For half a century, they further developed the concepts they introduced in their early works, ensuring their enduring relevance, as they remain today.

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2025-04-01 21:32

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