Philharmonic’s 20th-century program offers romance, tragedy
In the seventh installment of the OKC Philharmonic’s Classics series, Music Director Designate Alexander Mickelthwate led the orchestra in a rapturous (albeit inconsistent) array of 20thcentury Romanticism.
The program was intriguing and adventurous, but the opener, Astor Piazzolla’s “Tangazo: Variations on Buenos Aires,” was arguably an odd choice. Seeking repertoire off the beaten path is commendable and often rewarding, so long as one remembers why some pieces have been relegated there. “Tangazo” is perhaps the tango master’s most ambitious and genretranscending work, but it suffers from an identity crisis. Unsure of what kind of piece it wants to be, it leaves the performer with the heavy burden of both determining its character, and selling that concept convincingly. If this piece was ever going to work, it unfortunately would have needed heroic salesmanship — or at least more than it had on April 7.
Frankly, this performance came across as a cerebral caricature of the tango. With a heavy, neoclassical seriousness that it nervously tries to laugh off in moments of whimsy, it presented a perplexing dichotomy, both extremes undermining the sensual, romantic heart of the genre. Opening with the grim, scowling solemnity of a Shostakovich fugue, the more playful sections seemed jarringly frivolous rather than flirtatious. Imagine a conspicuous, rigid academic trying to blend into the smoky nightclubs of Buenos Aires. For this cringeworthy situation to make us feel anything but uncomfortable, this awkward intellectual would have needed to shed his tweed jacket and execute the tango expertly, dripping with Latin flair and sex appeal. Unfortunately, that didn’t quite happen, as the orchestra’s skittish tendency to rush the signature “habanera” groove seemed stereotypically square, rather than confident and cool. An admittedly minor fault, but the stylistic devil is in the details.
Thankfully, the rest of the concert was excellent, and beautifully authentic. Erich Korngold’s gorgeous “Violin Concerto in D Major” concluded the first half. Renowned as a film composer, Korngold infused his music with all of the magic and romance of Hollywood’s golden age. While his contemporaries surged forth into avant-garde modernism, Korngold unabashedly embraced post-Romantic grandeur.
Guest soloist Philippe Quint gave a genuinely joyous performance, seeming to truly love the music and performing it, a smile never leaving his face. The second movement was particularly exquisite, its lush melodies perfectly suited to Quint’s characteristically deep, resonant sound (the sound of the 1708 “Ruby” Stradivarius, to be specific). The rousing finale had incredible energy and technical brilliance, but strangely, was unable to move the usually riotous audience to demand an encore, to my surprise and disappointment.
Sergei Prokofiev’s ballet “Romeo and Juliet” comprised the entire second half, in which Mickelthwate and the Phil more than made up for anything lacking in the first. The orchestra performed with vibrancy and intensity, conveying a dramatic range of character and mood. From the apocalyptic introduction, to the gentle moments of introspection and intimacy, to the violent and volatile action sequences, this was among most charismatic and convincing performances the Phil has given in recent years. Prokofiev’s score paints these iconic characters and their tragic fate larger than life, and the orchestra, particularly the striking solos in the winds and brass, rose to the task.
Mickelthwate, after leading the Phil in a special collaboration with Ben Folds on May 1, will return to the podium next season, officially stepping into the role of artistic director. Maestro Joel Levine will give his final farewell performance as artistic director of the Philharmonic on its Classics 8 concert on May 12, featuring Tchaikovsky’s iconic fourth symphony — an emotional and historic event, not to be missed.