Russians embrace U.S. orchestra’s visit
MOSCOW — The clapping began in the upper balcony of the Great Hall of the Moscow Conservatory and spread through the auditorium until the entire audience was clapping in rhythm, like a crowd at a sports stadium, speaking a universal language: Play us an encore.
The National Symphony Orchestra had just finished its first performance in Russia in nearly a quarter of a century. It arrived at a time when official relations between the two countries are, to put it mildly, fraught. And it demonstrated that, at a time when political rhetoric is heated, music may be offering the real language of diplomacy, formalized and couched in centuries of tradition. Indeed, it wasn’t even clear whether people were clapping for what they had just heard, or for what this visit represented.
Sometimes a concert is just a concert. And sometimes it dips its toe into the complex world of cultural diplomacy.
“Culture stands tall above the din of politics,” said John Tefft, the American ambassador in Moscow, speaking at a reception for the NSO at his residence on Tuesday night, March 28.
The NSO played two more concerts this week in Moscow before flying home. And the reason for this lightning-quick trip isn’t actually diplomatic at all. The NSO has come to honor its late music director, Mstislav Rostropovich, at the annual festival that his daughter Olga created in his memory, on what would have been his 90th birthday.
Rostropovich, a brilliant cellist who took up conducting relatively late in life, led the NSO for 17 seasons, after he was exiled from the Soviet Union due to his support for Alexander Solzhenitsyn. When he returned in 1990 for the first time, he brought the NSO with him — and got a Beatles-style welcome, with people literally scaling the outer walls of the Moscow Conservatory’s Great Hall to look in through the high windows that run around the top. Then came the 1993 tour, when the orchestra became the first in history to perform in Red Square, to a crowd of 100,000 people — while across town, guns were trained on Moscow’s White House.
The tour came at another critical historical moment. As both countries deal with the fallout from allegations that Russia influenced the outcome of the U.S. election, an American orchestra has come to Russia — still a relatively infrequent occurrence; the last big American orchestras to play here came in 2012 — to pay homage to a great Russian by playing a lot of Russian music.
On one level, these performances can be seen as an act of homage. The Russians are certainly noting the symbolic implications of an American orchestra coming to honor a Russian, playing literally under a banner emblazoned with Rostropovich’s portrait above the Conservatory stage. On Tuesday afternoon, after the Rostropovich Festival held a news conference with the NSO at the TASS building here, Russian television — which is state-sponsored — ran a brief report that emphasized how important Rostropovich remains to the NSO today.
On another level, the NSO’s performances could have been seen as a viable alternative to political diplomacy, showing people from different societies brought together by a common love. The tour could even have read as an act of subversion, by both sides. In the United States, the new administration is trying to stamp out the federal funding for the arts that used to make just this kind of cultural exchange possible. (The current tour was privately funded, in part by the state-supported Rostropovich festival and in part by private donors.)
As for Russia, where people around the country just took to the streets to protest government corruption: Rostropovich, an outspoken foe of totalitarian governments, might well have had a thing or two to say about the current Russian regime. Although, a message from Russian President Vladimir Putin stands on the first page of the Rostropovich Festival program book.
For diplomats on both sides, there was a lot about this tour to love. “Culture,” said Ambassador Tefft, “does things that traditional diplomacy can’t.”
Two weeks before the orchestra left the U.S., the Russian ambassador to the United States, Sergey Kislyak — the man notable for his conversations with now-ousted national security adviser Michael Flynn and then-Sen. Jeff Sessions — hosted a reception for the NSO and its patrons, similar to the one Ambassador Tefft gave in Moscow, at the Russian Embassy in Washington.
“The tour,” Kislyak said, “is one of the brightest elements in our current relations.”
Trips like these, said Nicholas J. Cull, the director of the master of public diplomacy program at the University of Southern California’s Annenberg School for Communication and Journalism, “have immense significance because of their symbolic nature.” They fulfill what he describes as some essential functions of cultural diplomacy. “Most basically,” Cull said, “there’s the idea of a gift. If you give somebody a fantastic gift, it starts to establish a reciprocal relationship.” It also is a chance to “actually tell the recipient something about you they might not already know. ... Maybe today there’s value in reminding people that we’re not all about Taylor Swift. There is still high culture in America. Despite people backing out of humanities funding.”
And, he added, “It helps to show respect to a cultural figure of the country of origin.”
For many of the NSO’s players, diplomacy was of far less concern than doing honor to their beloved former music director. At the news conference at TASS, William Foster, a viola player with the orchestra for nearly 50 years, took Olga Rostropovich’s hand, saying he remembered her as a child, and was so overwhelmed with memories that he choked up. “I wasn’t looking forward to this tour,” he said later. “It wasn’t until we got here that I really realized what we were doing here.”
Later on Tuesday afternoon Steven Honigberg, one of many talented cellists whom Rostropovich drew to the NSO, gave a master class to young string players. Outreach is a buzzword for American orchestras, and this kind of exchange is a popular tool of cultural diplomacy as well, but that wasn’t what motivated Honigberg. “It’s the least I can do,” he said, “for the man who was so important in my life.”