James Levine, who just recovered from spinal surgery, has returned to the Metropolitan Opera pit and the concert stage in fine fettle. At his January 24th Carnegie Hall appearance with the MET Orchestra – their second this season – his high-voltage energy, fiery temperament, exuberance, and emotional—as well as mental—concentration were totally unimpaired. However, his conducting technique seemed to have undergone a startling change. Since the musicians, after many years of collaboration, are so attuned to him that they respond to the merest lift of his eyebrows, his motions used to be “close to the vest” and so small as to be invisible to the audience. His rapport with the orchestra is still palpable, but his gestures have now become big and sweeping: he waves his arms in all directions, turning and swaying from side to side. It was very exciting. The program was framed by two of the repertoire’s most popular symphonies: Schubert’s “Unfinished” and Beethoven’s Fifth. Levine seems to have succumbed to the current penchant for extreme dynamic contrasts, from the softest murmur of whispering strings to the most thunderous use of timpani. The opening of the Schubert was nearly inaudible, but otherwise, it was beautifully lyrical and introspective. The Beethoven was extremely dramatic, and the orchestra played splendidly, as always. Levine, in addition to conducting four operas at the Met, is returning to Carnegie Hall for two concerts with the Boston Symphony, plus directing Met Chamber Ensemble Concerts and master classes. The audience gave this intrepid musical superman a hero’s welcome and rewarded him with standing ovations.