Thursday night’s Dallas Symphony Orchestra concert prompted some head-scratching. Why was the orchestra not trying out the program to be played on its...
Thursday night’s Dallas Symphony Orchestra concert prompted some head-scratching.
Why, a week before the orchestra’s first Northeast concerts with music director Fabio Luisi, was the orchestra not trying outWhy, in Luisi’s first week with the orchestra in four months, were they performing and recording the Brahms Third Symphony, as part of a complete cycle? And why, under the circumstances, had they programmed eight songs from Mahler’sThere was a standing ovation, even applause from the orchestra musicians, after baritone Matthias Goerne’s performance of the Mahler.
Goerne certainly dramatized the words, but I’ve never been a fan of his dense, dark tone, and all his lurching around was distracting. Nor was the orchestra playing at its most precise. If there’s a defining character to Brahms’ music, it’s deeply felt emotion controlled within sophisticated and often complex textures. Luisi gave us intense — indeed, operatic — emotion in the Third Symphony; if there had been scenery, it would have been chewed. The effect to these ears was sometimes more Verdian than Brahmsian.
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