Jurowski ignites the Orchestra (1st review)

Many critics (myself among them) have expressed fears about the Philadelphia Orchestra's future. An answer of sorts was provided at its concert Friday afternoon, March 19.

Instead of rows of empty seats, as has become common, Verizon Hall was packed. Most seats were occupied by seniors, but a mob of young people also crowded in to fill any unsold chairs.

Why? Probably the appeal of the conductor, Vladimir Jurowski. He is tall, dark and exotic looking, and his conducting has been admirable in previous guest appearances.

In the past Jurowski has presented new works and Russian showpieces. His mission this time, clearly, was to demonstrate what he could do with traditional Classical favorites by Beethoven, Schumann and Brahms. The response indicates that a charismatic leader like Jurowski is what the Orchestra needs.

To be sure, perhaps patrons are more interested in hearing comfortable music than in taking a chance on something different. This packed house was wildly enthusiastic at the end.

Jurowski, for the most part, played things safe. The Brahms Tragic Overture and the Schumann Piano Concerto contained no eccentricities, and the first movement of Beethoven's Eroica Symphony unfolded at a brisk pace with no surprises.

Then came the funereal second movement, which jumped out at us because it was unusually impassioned and wrenching, followed by the vigorous third and fourth movements.

The piano soloist Benedetto Lupo made a fine impression in the Schumann. Myriads of ritards gave an impression of dreamy, romantic music that almost seemed impromptu.

In both the Schumann and Beethoven, some horn and oboe solos were kept quieter than usual while Jurowski encouraged swirling interjections by the strings.

The first and second violins, by the way, were seated on opposite sides of the stage to spotlight the moments when they played antiphonally. This orchestra was one of the first in the world to group all the violins together. The conductor in the 1920s, Leopold Stokowski, said that he wanted all of the strings' sounding boards and f-holes to face out toward the audience so they could better be heard.&diams:


To read another review by Michael Woods, click here.
To read another review by Tom Purdom, click here.