Lessons from Tilson Thomas (2nd review)

Michael Tilson Thomas's appearance with the San Francisco Symphony at the Kimmel Center was an Event with a capital E, and it makes me think again about the discussion I conducted on these pages with Tom Purdom a week ago, when Vladimir Jurowski led the Philadelphia Orchestra.

Verizon Hall again was packed and the crowd was excited. Even Anne Ewers, the Kimmel's CEO, seemed giddy when she came to the podium to introduce Thomas's first appearance in Philadelphia in seven years.

In a city of Philadelphia's cultural depth, and with such a glorious musical reputation, it's easy to assume that institutions have a life of their own and need not depend on the charisma of some guy with a stick. But the concerts of these past two weeks have reminded me that orchestral excellence by itself doesn't suffice; audiences yearn as well for a front man (or woman) with personality.

Two perceptions of Jurowski

The form of that persona can be elusive to define. I described Jurowski, for example, as "tall, dark and exotic looking"; Purdom called the same conductor "reserved... almost introverted... focused." Two different descriptions, both accurate.

Audiences have responded to conductors who were short and authoritative, like Toscanini, Ormandy and Barenboim. Jurowski more resembles the young Stokowski, who attracted attention through his tall, patrician bearing. (Their names rhyme, too.)

Tilson Thomas has another type of personality. He's skinny, looking like a studious intellectual displaying his emotional involvement. Some of his appeal comes from the fact that he was a friend and associate of Leonard Bernstein, and MTT (as Tilson Thomas is commonly called, because his name is so long) has been conducting on TV for so many years that many music lovers feel they know him.

Bernstein's angst

Some differences between Bernstein and Tilson Thomas were noticeable Tuesday night. Both men share a bond with Mahler's music, but Bernstein's interpretations had more angst, while Thomas seems more serene. Bernstein's Mahler had more sudden emphases and elongations, while Thomas maintains a steadier pulse.

The San Francisco Symphony sounded big and brassy under Thomas, but he took some passages very softly and sweetly. It was as if Tilson Thomas acknowledges Mahler's personal struggles, but with a wistful smile, because time has passed and the composer has at last achieved acceptance.

The link between Mahler, Bernstein and Tilson Thomas, of course, is that all three were outsiders seeking acceptance by society. Mahler converted from Judaism to Catholicism to get work; MTT changed his name from Thomashevsky; Bernstein refused a suggestion to change his to "Leonard Amber" but he dabbled in other faiths before reasserting his Judaism.

The gay question

Years ago, some people said Tilson Thomas couldn't be accepted as music director of the Philadelphia Orchestra because he was openly gay; San Francisco, went the theory, was a better fit. If that once may have been true, I doubt it would be a factor now. But MTT is so respected in San Francisco that he probably wouldn't leave there even if Philadelphia made him an offer.

Last week we discussed how Jurowski re-seated the Philadelphia Orchestra. Tilson Thomas and the San Franciscans used yet another configuration. First violins sat to the conductor's left, then the celli sat directly in front, with double basses to the left rear. Violi and second violins were to the right.

One other aspect of Tilson-Thomas appeals to me. Some conductors seem to court audience approval, while others pretend to ignore its presence. MTT looks up and around quizzically, as if to say: Are you all comfortable? Are you glad you came? Let me get a good look at you so I can remember this experience.

Is this silly? I don't think so. With due respect to the musicians and to critics, I'm becoming convinced of the necessity for a leader who appeals to audiences.♦


To read another review by Robert Zaller, click here.♦


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