Date: August 25, 2019
Location: Großes Festspielhaus, Salzburg.
Berg – Lulu Suite
Beethoven – Symphony No. 9
Kirill Petrenko, conductor
Marlis Petersen (soprano)
Elisabeth Kulman (contralto)
Benjamin Bruns (tenor)
Kwangchul Youn (bass)
Ushering the Berlin Philharmonic into the Petrenko era was a series of Beethoven 9 concerts, with two concerts in Berlin followed by stints at successive European summer festivals in Salzburg, Lucerne and Bucharest. This review from Salzburg was therefore Petrenko’s third concert as Chief Conductor of the orchestra. The program featured two works that could not be more contrasting in mood and nature: that of Berg, a plot of humanity’s despair and disintegration; and that of Beethoven 9, humanity’s hymn for universal brotherhood.
The Berg’s score, in the hands of an average orchestra, could feel weighty and muddled. But here, instrumental lines flowed in mid-air, with rhythms of four against three and two against three crisscrossing each other, like a feisty swarm of butterflies fluttering their wings vibrantly, yet cleanly and without touching each other. A good example was in the Rondo, with the music in reference to the escape plot to bring Lulu to Paris. Lulu is pretending to be an invalid, and the music that accompanies her act is lightweight, borderline comical. The woodwind counts in two and plays in triplets of notes, while the piano counts in three and plays triplets. The music was moving so quickly that the sequence would have been easily missed. But here, the Berliner’s execution was clean and clear, with rhythms held aloft in a delicious call and response. Another good example was how each long line of the Act 2 trombones, often as anchor or trailer to bright trumpet moments, never seemed muddled. Their exhibition was a masterclass of rhythmic diligence and persuasive phrasing.
Marlis Petersen, as Lulu, gave an impassioned performance. Her voice was suitably prepared at her entrance, as if she had been warming up her voice and singing Lulu’s part anyway while the Suite was in motion. Her diction was clear; and her delivery was supple.
If the ambiguously resolution of the last chords of Berg was intent to sink the audience hearts, the latter piece’s beginning fifths by Beethoven, if purely by its embryonic and yet-to-be-shaped intention, did not immediately prove to repeal the former. It was not until the triple forte section, when the third was finally introduced, that there was no longer any doubt about how, after Berg’s total repudiation of humanity, the evening was about to be rehabilitate. What came after was a rebuilding, chord by chord, layer by layer. Petrenko was patient, taking his time through the first three movements to build up motions, occasionally suppressing them just enough so as to enable a long arch leading to the fourth movement’s climactic end.
The Schreckensfanfare, approached with an unrelenting fury, ruptured the tension built heretofore. The double basses’ introduction of the title theme was so united in intonation, color and clarity, as if the basses were forged into one giant instrument. Tempo picked up slowly with briskness, in a statement of an increasingly vibrant life, even flirting slightly with the rushed side of things, as if to illustrate the vivacity in human emotion. But where the orchestra seemed to be juicing just above comfort, its sound came across more as confidently urgent than blindly hard-driven. When the proceedings got hot, musicians cooled down by playing farther behind the baton, most evidently by Emmanuel Pahud’s solo at the poco ritenente, just before the baritone’s first entrance.
Petrenko was not the only one making a prominent debut on this occasion. Benjamin Forster, who replaced the retiring Rainer Seegers as solo timpanist, made a glorious debut as solo timpanist, in this all-important part of the instrument’s classical repertoire. His playing style was minimalist and scrupulously efficient. And he seemed shy when Petrenko singularly called him out during the extended and thunderous applause.