CSO Flourishes with Falletta
Conductor Joann Falletta
CONDUCTOR JOANN FALLETTA represents the best of what classical music is all about, and it rubs off—as it did Thursday night at the Gaillard Auditorium where she led the Charleston Symphony Orchestra in a lyrically rich program of Russian-European music.
This may have been the best we have heard the CSO play, and much of the credit goes to Maestro Falletta for her understated precision, her inspired leadership, and her willingness to let the musicians shine.
She, however, deflects the praise. When I thanked her for the performance, she responded: “The orchestra was wonderful.” I later heard her say: “The concert is the orchestra’s concert, not the conductor’s. It belongs to the orchestra. It is their sound. The conductor does not make a sound. The conductor’s responsibility is to create a landscape where excellence can flourish; to create that possibility.”
How refreshing to see a world-renowned conductor who does not carry herself like an “artiste,” who is not preoccupied with convincing audiences by means of showmanship, and whose expertise speaks for itself.
Watching Mrs. Falletta on stage, you get the impression that she does serious homework with the orchestra in rehearsals, then lets the performance unfold naturally (rather than in ultra-controlled fashion) under her attentive but not overbearing baton.
~ ~ ~
This very special concert started with the Overture from Alexander Borodin’s (1833-1887) opera, Prince Igor, a work that was finished by fellow Russian composers Alexander Glazunov and Nikolai Rimksy-Korsakov (1844-1908) after Borodin died unexpectedly in 1887. The overture itself is said to show mainly the influence of Glazunov, and it provided a colorful introduction to an evening of dazzling display by the CSO and guest violin soloist, Michael Ludwig.
Michael Ludwig • photo by Emily Everett
Mr. Ludwig, who is concertmaster of the Buffalo Philharmonic (which Mrs. Falletta directs), was featured in the romantic Symphonie espagnole of French composer Édouard Lalo (1823-1892) who wrote the work for Spanish virtuoso, Pablo de Sarasate. This five-movement piece (labeled a symphony by the composer but considered a suite by others) is often played without its middle movement. As Dr. William Gudger said in his pre-concert talk, the additional Intermezzo movement tends to “muddy” the whole thing so violinists choose to leave it out—which effectively renders it a concerto that features spectacular and tireless violin playing.
Mr. Ludwig performs with major orchestras around the world and it was evident why. He has a crisp technique, a song-like tone, and an undemonstrative yet engaging presence on stage. Periodically he sweeps one foot to the side in a waltz-like step, then pulls the other foot to join it as though he is stepping out of his own way before launching into another lunge of the bow. When things really get going, he leans back, points his violin to the sky, and unleashes all abandon. It is a dramatic, yet genuine gesture—which reflects the character of his unique music making.
As an encore, and in perfect contrast to the exhaustive Lalo piece, he played the silky Meditation from Thaïs by Jules Massenet (1842-1912). This could easily have marked the end of the evening, but we were only at intermission!
~ ~ ~
Maestro Falletta says she has performed Rimsky-Korsakov’s Scheherazade, Opus 35 with some 20 or 30 orchestras (which is probably why she could conduct without a score in front of her) and that it is a nice way for her to get to know an orchestra, partly because the work has so many solo passages—“hard solos,” as she said, that leave the players very exposed.
(On a side note, principal flutist Jessica Hull-Dambaugh delivered her baby earlier than expected, so the second chair, Regina Helcher Yost, had to step up with barely 24 hours notice and play several demanding solos. Regina not only came through with shining colors, but stood out with her smooth, pure tone. It was a testament to the caliber of musicians in this orchestra.)
In addition to Scheherazade’s many solos, it highlights whole sections of the orchestra. For instance, just the violins play, then the violas, then full duties pass to the cellos and bases, on to the woodwinds, then to the brass section, and so on. On this night, the woodwind and brass players were also on risers where we could clearly see (and more fully appreciate) them. The riser effect enhanced the sound with brighter colors—which perfectly suited Rimsky Korsakov’s broad range of colors and motifs.
His tapestry of sounds is lushly textured, mysterious, romantic, dramatic, and at times poignantly sad. The frenetic finale, where all the fabrics and colors get tied together, is as gorgeous as it is powerful.
Many listeners may know this music from the adapted score for Russian-choreographer Michel Fokine’s twentieth-century ballet by the same name. Well, it is even more mesmerizing when heard in its entirety and for itself. There is one explosive section near the end, followed by an exquisite, delicate conclusion, that could epitomize the beginning of creation. It’s as though all the elements of the universe are being powerfully conceived and assembled, then sent gently on their way through creation with a tinge of parting sadness. It is exotic, haunting, memorable music.
~ ~ ~
The music aside, this concert was particularly special because of the graciousness of Joann Falletta and Michael Ludwig. Having two world-class guest musicians on the Gaillard stage at the same time is, in itself, wonderful. Their magnanimity made it even more so. Although Mr. Ludwig had to leave town right away, Maestro Falletta stayed two more nights in support of the orchestra. She attended a CSO donors reception one evening and a fundraiser the next simply because she believes in this orchestra and wants to see it thrive.
It was a heartfelt gesture, rare in the profession, and extremely fortunate for our arts community.
In between those events, she also found time to do an hour-long orchestra reading (a sort of master class) with the College of Charleston Orchestra. She led students through several movements of a piece they had recently performed, instructing them on different ways to approach the music, and answering their questions. Among other things, she mentioned how important it is for them to consistently look at and listen to each other while playing—something that distinguishes the best orchestras—and to always treat their playing as chamber music in the sense of communication, camaraderie, and mutual support; and to play even base-line sections as melodies—not to simply “follow” the lead voices. In a matter of minutes she had them playing tighter as a group and producing a deeper, richer sound.
What an opportunity and inspiration for these kids, whom she told, “even those of you who will not go on to become professional musicians, you will always be musicians inside and you will never forget the experience of being members of this orchestra,” which is now under the guidance of CSO’s concertmaster, Yuriy Bekker.
Yuriy himself—after several days of rehearsing and performing with Joann Falletta, then watching her inspire our musicians, audiences, and sponsors—remarked how incredibly fortunate our entire arts community is to host such a highly acclaimed conductor who is also an extremely kind, generous, and loving person.
Maestro, you left your indelible mark on this city. Thank you.
