Diana Damrau’s Versatility includes Acrobatics

January 23, 2010 at Carnegie Hall, New York, NY

The German soprano Diana Damrau recently sang eight songs by Richard Strauss, and Zerbinetta’s aria from his opera “Ariadne auf Naxos” with the MET Orchestra under James Levine. Her voice is ravishingly beautiful, with enough power to cut through and sail above the orchestra, clearly showing her operatic roots, yet capable of drawing listeners into the soft, intimate songs with a wonderfully floating quality. But it was her coloratura that left the audience gasping in disbelief. Her last song, “Amor” – unfamiliar for good reason – was a tour de force of trills, roulades and other acrobatics. The aria, one of the most spectacular display pieces in all opera, was dazzling; she acted it out with humorous, ironic gestures and facial expressions, tossing off the fireworks with incredible brilliance. It brought the house down, so she repeated the last section; but this time, she stood cheek to cheek with Levine, one foot on his podium, both mugging with gleeful abandon and having a wonderful time.

Share
by Edith Eisler  for New York Concert Review; New York, NY

Gilbert’s Seamless Schumann

Gilbert’s Seamless Schumann

On December 30th, 2009, The New York Philharmonic, with Alan Gilbert conducting, gave one of the greatest performances of Schumann’s Second Symphony you will ever hear. Why? Not only was it executed with a beautiful, polished sound by all the sections in the orchestra, but the interpretation was extremely honest to the extent that every musical gesture was in tune with the composer and his score. Exaggeration and showmanship are words associated with past conductors at the Philharmonic, and if anything, we heard the opposite: some of Schumann’s tempo changes were conducted so seamlessly–with such subtlety–that they almost went unnoticed. The first movement was jovial but intense; the Scherzo was played with a controlled jauntiness; the Adagio espressivo movement was played with a sincere tenderness, and the finale was simply glorious. The New York Philharmonic and Alan Gilbert make a case that Schumann’s Second Symphony is one of the greatest symphonies of all time. Let’s hope they perform this work often.

Share
by Anthony Aibel  for New York Concert Review; New York, NY

Quintessential Gershwin at the Philharmonic

Quintessential Gershwin at the Philharmonic

On December 31st, 2009, conductor Alan Gilbert wisely let the New York Philharmonic do their thing (and that swing) in Gershwin’s “American in Paris”, as the orchestra—due to its long history with the work– can possibly play it like they play Bernstein’s “Candide Overture”: that is without a conductor. But I exaggerate a bit; some of the tricky tempo changes, balances and juxtapositions of rhythm need to be negotiated smoothly by a conductor with taste. Gilbert impressively accomplished that, and the end result was the quintessential performance of “An American in Paris”.

Share
by Anthony Aibel  for New York Concert Review; New York, NY