I finally had my first live experience of Patricia Kopatchinskaja and Teodor Currentzis, who brought his Perm-based musicAeterna to Lucerne’s Easter Festival last night for the first of two programs: early Mozart and Beethoven Eroica.
It very well might have been a new music evening: that’s how unexpected and full of discoveries the performance was. Currentzis has become something of a cult figure, and it’s easy to see why. A friend compared him visually to Hoffmann’s Kapellmeister Johannes Kreisler, with his spindly legs and tall, lanky figure. I wish I could have seen the expressions he was flashing, mirrored, I suspect, by his restlessly gesturing hands.
Currentzis seems to decide on the spur of the moment to fixate on a particular player or section, and then to stare them down, whip them up to further excitement, coax out a sudden swell or tamp it down to near inaudibility. No one knows when or where he’ll pounce: it’s all part of the electricity.
Mozart’s G minor Symphony K. 183 was full of shocks and epiphanies: the sort of thing we tend to privilege to the really big works like Eroica, but which are strewn about far and wide, and so unrecognized in so many other sources. I especially welcomed how Currentzis balances his spontaneous, red-hot, in-the-moment aura with carefully thought-through decisions (the articulation of the second theme reprise-time around, when it emanates a menacing despair; tempo differentiation of the Minuet and the Trio).
Patricia Kopatchinskaja is a revelation, nothing less. The playing in her bare feet, the poses she strikes, the comic interplay with Currentzis: the things people like to focus on are just a part of her entire, fascinatingly refreshing outlook, and it’s rooted in brilliant insights about the source of invention, say, in the Mozart D major Violin Concerto (K. 218) she played.
Actually, Kopatchinskaja didn’t just show up and “play” it, fulfill her contract, job done. It was such an unusual ratio of performance energy and creative expenditure to the Concerto’s part on the program.
It felt like an epic, and the audience seemed to learn far more than it had bargained for about what makes a concerto work, about how a soloist can interact with an ensemble of independent-minded players. Mozart’s folk song ploy in the finale became the key to Kopatchinskaja’s improvisational approach overall — the cadenzas she contributed wouldn’t have been out of place in Ligeti — and a bridge to her encores of Bartók and Enescu.
In their period-instrument Eroica, musicAeterna’s dangerous playing kept me on the edge of my seat throughout. I’ve never experienced in live performances of Beethoven’s Third such a powerful presence from the timpanist. The impact of the drums in the Funeral March was at devastating as in Mahler’s Sixth finale.
A couple of wind players almost lost the reins in the finale when one clarinetist got so worked up he knocked a stand over– at first it looked like there might be a domino effect, just before a big solo for the oboe (so much a protagonist in this symphony!). Aside from an emanation of angst-waves — like watching a tightrope walker regaining balance — the music pushed ahead, and was the more intense for it.