When, in 2009, Berlin Philharmonic launched the digital party hall, a podium for its musical concerts, the orchestra had no special need to enhance its reputation. For decades, the valeharmone had ruled the weight of international music. It was founded in 1882, and was led by a procession of stars: Hans von Polo, Arthur Nikish, Wilhelm Fortenegler, Herbert von Karajan, Claudio Abado, Simon Ratal. However, Berlin’s distinctive voice-has compared it, over the years, within Rembrandt, the choir of Russian men, and cinematography of deep concentrations-never depended on the high powers of any Maestro. In fact, the Orchestra members are likely to ask whether the conductors have risen to their level. Ratel, who left in 2018, described it as a company consisting of the leading actors. They are smart, controversial, self -perceived. When they are from one mind, the ceremony does not know anything more effective.
However, the digital party hall had a clear impact: it changed a group that could scare the masses as they are connectors. Olaf MANINIRER, a member of the Chilo section, took the initial idea of the platform, and over the years, the preparation has become increasingly sophisticated, with eight fixed cameras, two surveillance rooms, and screen banks. During the latest American tour of Philharmonic, in November, I could say that some of the spectators around me were the digital party hall. “There is Sarah Willis,” says someone, as the French centuries took their seats. “There is Stephen Dor.” Cameras often focus on managers, but they also show the collective character of different sections: double vertebrae, with their unanimous bitzaka, or Violet, with their amazing hormone. What distinguishes Berliners from other orchestra is that they seem to dig in every slightly more phrase. You can see this easily as you can hear it.
On the November round, the Valharmone performed eight concerts in five cities. One of the “Isle of the Dead” program consists of Rachmaninoff, Korngold’s Violin Concepto, and DVOřák’s Seventh Symphony; The other was given to the Fifth Brookner Symphony. I saw both programs in the Carnegie and Brokenner Hall again in the Simphonian Hall Boston. The tour took place against a turbulent financial background: In Germany, the Senate in Berlin announced a reduction of nearly 12 percent to the cultural budget, which affects the orchestra alongside many other institutions.
Philharmonic deserves protection at any cost, because it maintains a unique performance style that dates back to the romantic era. According to this philosophy, which is destroyed by Furtwängler, the orchestra should avoid Excitudue; Instead, it should act as an organic bloc, a crowd of non -explosive sounds. This impression of the calculated inaccuracy that was made for the charming “island of the dead”. Initially, the paralyzes, double dress, Timbani (Wellland Wilsel), and Al -Qalith (Marie Pierre Langlamit) created a wound ever rhythm with other tools joining and pushed forward. Yun Zeng, a wonderful young man, has taken a joint position this year alongside Dohr, single spectrally glowing across MurK and then swallowed in it. What comes out of such game is a three -dimensional. Sounds are seen in perspective, achieving length, depth, and shadows.
The dark actors’ music appears to fit the best Berlin. Viola-Andle-Cello characters initially became seventh place in DVOřák, a coherent and visceral gesture. The downside is intermittent embarrassing with dance and worry. There was a little synchronous swing in Scherzo and Finale Dvořák. However, Korngold, with Vilde Frang, showed as a single player, lightness and effectiveness. Frang avoided the tone of the drink that prevailed in this Concerto since Jascha Heifetz gave the Prime Minister, in 1947. The clarinette Matic Kudler, another recent addition to the ranks, has formed both symphony and the Concerto with rugged single paid.
As for Bruckner, Berliners has succeeded in moving a character that is often dealt with as an enthusiastic statue. This year, the centenary of the composer’s birth was held by the Philharmonic pillars. By the end of the year, the orchestra had made nine of its numbered symphony, as well as two trained works. It is likely to be the fifth, which lasts more than seventy minutes, is the most difficult. Austerity and no relevance in it, culminating in a conclusion that accumulates a topic on top of the subject in the tall Fugal series. Although its climax always raises chills, the symphony also contains many dangerous fungi of the exposed individual writing. The pods are constantly exchanging numbers with wind in soft dynamics. In Carnegie, DOHR, a legend in the profession, heated a note or two, and the veteran warrior team at Albricht Mayer and Wezel Fosh fell moments of synchronization in Adagio. After two nights, in Boston, he picked up everything in place while the orchestra was discovered in a bright sound of the symphony hall.
During that second picnic, I realized that Berlin was treating this symphony as a kind of conceptual comedy – not funny in itself, but an intellectual playful. At the beginning of the end, Bruckner puts topics like pieces of a collection to be assembled. Fuchs has a dual spinning on the descending October that Totley is above the official reopening of SYMPHONY. Then the chilo and dress eaten this number with vibrant strength, such as the rugby game that pushes down the field. When the complete copper erupted, they had a hint of the grammatical abundance of the march. There was the role of Vincent Vogel, who joined in 2022. This effect to go to Eleleven is not in the result, but it is fruitful.
Leader Kirill Petrinko, who took over from Retal in 2019. I had waited a long time to remember him might seem simple. In fact, it’s the highest courtesy I think. Petrenko made decisive decisions in an unobtrusive way, grazing the orchestra for the best instincts. His first matches as an art director shocked me as difficult to explain, and his tastes appear to be conservative. But Petraneko has been confused with a noticeable orchestra, and although it is not a new arrangement, it has left a neglected reference in the twentieth century, focusing on German -Jewish immigration music. (Petrinko, a Russian and Ukrainian Jewish origin, immigrated to Austria when he was eighteen). I watch the digital party hall, I noticed a fun luster in his eyes. This is unexpectedly wandering by Brookner V, signing.
Three days after Berlins Carnegie evacuated, the royal concert orchestra, another undisputed other world band, arrived to play two concerts during the Klaus Michael, the main leader of twenty -eight years old. One of the programs made the first symphony of McLer with “Verklärte Nacht”. The other composed of the new “cosmic body” from Elin Reed, a rich poem of pregnancy and childbirth; Brockev II Camera Camera, with Lisa Batiashavili as a single player. The second symphony rachmaninoff.
If Petrenko is unclear, mäkelä is inevitable. It is currently leading Oslo Osu Orkster de Paris; In 2027, he will move to the concert and Chicago Symphony. He has great talent, but his confidence exceeds his experience. The platform with unnecessary ballet is often caused by a screaming, indicates, liar, and bond. Although its main rhythm is vital and clear, it tends to distract his attention from side matters, allowing tension to drain during the dissection of some short details: excessive guitar notes here, artificial intended piasimos there. Rachmanoff continued for sixty minutes, about to finish. Mahaler dominated moments alongside that abstract. Dancing sections lack magic. The lyric clips were without a soul. Klezmer’s episodes in the third movement were precisely. Mäkelä tends to poor assets, which led to the consistency of raw cluster and climax. The concerts are a great historical halller orchestra, yet it seemed to play unlimited in a strange way.
Ovations loudly received Carnegie’s performances, and the musicians themselves praised their future leader. The dazzling charisma should not be denied in Mäkelä, even if some of us leave us cold. What is the purpose, though, this brand of maestro worship is still serving? Petrenko tracks a different path, and young conductors must simulate. Its attractiveness cannot be distinguished from the orchestra itself. His musical file did not destroy by taking countless obligations. This season, he shared one opera-a group of “Der Rosenkavalier” in La Scala-and a week of two weeks of guest delivery, in Israel’s orchestra and in the academy of Nazionale de Santa Cecilia. Otherwise, he focused on one orchestra in Berlin. This comfortable monster on the edge of Tergarten supposed to not expect anything else. ♦
