Interludes

THE HANGOVER REPORT – An orchestra in transition: The New York Philharmonic returns to indoor, in-person performance in excellent form

• By drediman
• September 19, 2021
• No Comments

This weekend at Alice Tully Hall, the New York Philharmonic kicked off its new season, re-commencing indoor, in-person performances after largely staying dormant over the course of the lockdown. Aside from the obvious pandemic and diversity/inclusion related issues the orchestra (and the rest of the performing arts world) is currently contending with, it’s still nonetheless an interesting and defining time for the NY Phil. During the lockdown, the storied institution smartly decided to fast track the much-needed overhaul of David Geffen Hall – the orchestra’s home at Lincoln Center – which has left the orchestra temporarily nomadic (in addition to Alice Tully Hall, the 2021-2022 season will also include appearances at Carnegie Hall, as well as the Rose Theater at Jazz at Lincoln Center). Then there’s also the recent news of maestro Jaap van Zweden’s decision to step down as the orchestra’s music director after only six seasons in the position.

Despite these transitional pains, the orchestra sounded in excellent form during Friday’s opening performance, which was performed without an intermission for health safety reasons. The richly-curated opening program was aptly entitled “From Silence to Celebration”, and it began quietly with Anna Clyne’s 2009 Within Her Arms, a sensitive chamber piece for strings. The playing exuded a haunting melancholic glow as it suggested the orchestra’s re-emergence from the silence forced upon it by the pandemic. Then came Aaron Copeland’s somber but stately Quiet City, which added the brass sound into the fold, courtesy of the soulful solo performances by Ryan Roberts and Christopher Martin on English horn and trumpet, respectively. The evening continued with the welcome inclusion of George Walker’s 1968 Antifonys, an unsettled Stavinsky-esque work which further expanded the orchestra’s sonic palette.

The evening concluded with Beethovens’s Piano Concerto No. 4, featuring superstar pianist Daniil Trifonov. Mr. Trifonov has always been a preternaturally gifted technician on the keys, but his performances in recent years have revealed the soul of a true artist in engaged philosophical dialogue with the music. Indeed, his performance on Friday was compelling from start to finish as he conquered the piece’s three movements with intelligence and prowess. Apart from Mr. Trifonov’s triumphant performance, perhaps the evening’s most special aspect was the decision to to weave the spoken word of poet Mahogany L. Browne (especially her potent and empowering poem “A Country of Water”, which directly preceded Mr. Trifonov) into the evening’s program – a notable initial step in addressing representation issues not only within the institution, but also the classical music world at large.

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NEW YORK PHILHARMONIC: FROM SILENCE TO CELEBRATION
Classical Music / In-person
Alice Tully Hall
1 hour, 30 minutes (without an intermission)
Closed