MEMETERIA by Thomas May

Music & the Arts

Yuval Sharon’s Radiant New Interpretation of Meredith Monk’s Avant-Garde Classic

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Meredith Monk’s “Atlas” at the Los Angeles Philharmonic, staged by Yuval Sharon; photo credit (c) Mathew Imaging

Yuval Sharon bid adieu this past week to his three-year residency with the Los Angeles Philharmonic by boldly staging a work that changed his life: Meredith Monk’s opera Atlas, which before this had existed in just one production: the original, commissioned by Houston Grand Opera under David Gockley and staged there in 1991.

My review has been posted on Musical America (apologies for the paywall):

LOS ANGELES — A generation has already passed since Meredith Monk first charted an unprecedented operatic world in Atlas. Yet her ambitious stage work, which premiered at Houston Grand Opera in 1991, retains an aura of singularity — not just in its radiant music and almost entirely wordless libretto, but in the process through which Atlas was shaped as well. Monk cast aside convention altogether, building her opera from performance practices she had pioneered. 

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Filed under: Los Angeles Philharmonic, Meredith Monk, new opera, review, Yuval Sharon

Yuval Sharon on Three Years with the LA Phil

Looking forward to his upcoming Meredith Monk project:

Filed under: Los Angeles Philharmonic, Yuval Sharon

Tan Dun’s Moving Buddha Passion Gets Its U.S. Premiere by LA Philharmonic

Hands-down one of my highlights of the season so far: Tan Dun’s Buddha Passion, which I reviewed here for Musical America:

LOS ANGELES—A signature of Tan Dun’s most successful compositions is his gift for mixing putatively disparate elements into powerfully original amalgams. To make that happen means being able to take serious risks—and the premise behind Buddha Passion is nothing if not bold. The audience’s euphoric reaction at Walt Disney Concert Hall, where the Los Angeles Philharmonic and a cast of guest performers under Gustavo Dudamel gave the United States premiere on February 8, confirmed the tangible impact of Tan’s wildly imaginative gamble here.

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Filed under: Gustavo Dudamel, Los Angeles Philharmonic, Musical America, review, Tan Dun

A Reich Premiere and Mahler Recharged at the Los Angeles Philharmonic

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It’s been a bracing week of the non-routine in Los Angeles: Philip Glass’s Satyagraha at LA Opera and, from the Los Angeles Philharmonic, John Cage’s Europeras 1 & 2 (with Yuval Sharon’s The Industry) and Susanna Mälkki’s first program of the season. Here’s my review of the Mälkki concert for Musical America:


LOS ANGELES–This past weekend’s program by the Los Angeles Philharmonic was both a newsworthy event and a rousing artistic triumph. Newsworthy because it offered the world premiere of the first composition Steve Reich has written for a full orchestra in more than three decades. And with Susanna Mälkki on the podium, the entire concert on Friday night (November 2) made the concept of a modern symphony orchestra itself feel vitally relevant. Juxtaposed against the pleasures of Reich’s exquisitely crafted piece, a familiar Mahler symphony–the Fifth–was transformed into a revelatory experience.

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Filed under: Los Angeles Philharmonic, Mahler, review, Steve Reich

Andrew Norman’s Sustain

I finally had a chance to listen to Sustain, the major new Andrew Norman piece, thanks to the Los Angeles Philharmonic’s online, on-demand (free) broadcast of the 4 October 100th-anniversary season kickoff concert, conducted by Gustavo Dudamel.

The entire program is terrific: Esa-Pekka Salonen’s LA Variations and the Beethoven Triple Concerto on the first half, with Sustain, an LA Phil commission and receiving its world premiere here, filling the second. But you should especially get excited about Norman’s composition. It’s a big piece, ambitious, visionary, otherworldly, spun from fascinating aural patterns that seem to wormhole and teleport across vast astronomical spaces.

Such purposeful originality here: the multilayered connotations of the title are by no means merely incidental. There’s no question now that Norman is a major, significant voice. Especially given its spatial conception, Sustain obviously has to be experienced live. But I highly recommend checking out the broadcast while it’s still available as a temporary compromise.*

Mark Swed writes: ” In an exceptional feat of musical transformation, we wind up in an indefinable new dimension. This is something new.”

And in the New York Times, Seth Coulter Walls discerns “a sublime new direction for the composer”: “Over the final third of ‘Sustain,’ this unusual merger between restraint and hyperactivity could hypnotize … Even when the dynamic level increases to an undeniable roar, there is a smoothness to the piece.”

*Look for the little link button (a bit hard to find) on this page, right below the words “in case you missed it – or want to relive the magic – we’re bringing it to you here on KUSC.org on demand!”

Filed under: Andrew Norman, Los Angeles Philharmonic, new music

In Search of Mahlerian Music Drama at LA Phil

I covered a very unusual approach to Mahler’s Das Lied von der Erde for Musical America. This remarkably original staging by Yuval Sharon and the Chile-based Teatrocinema Company was performed this past weekend by the Los Angeles Philharmonic and Gustavo Dudamel, with soloists Russell Thomas and Tamara Mumford.
[review behind paywall]

Filed under: Los Angeles Philharmonic, Mahler, Musical America, review, Yuval Sharon

A Rousing Reunion for Esa-Pekka Salonen and the Los Angeles Philharmonic

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Esa-Pekka Salonen © Benjamin Suomela

Esa-Pekka Salonen’s return to Walt Disney Concert Hall highlighted his gifts as composer and conductor alike and underscored how an orchestra can sound genuinely 21st century.

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Filed under: Beethoven, Los Angeles Philharmonic, review, Salonen

Simon Woods To Leave SSO for LA Phil

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Simon Woods, who as President & CEO has worked so closely with Ludovic Morlot to reshape the Seattle Symphony and enhance its sense of mission, will head south in January to become Chief Executive Officer of the Los Angeles Philharmonic.

Michael Cooper reports in The New York Times:

In Los Angeles, Mr. Woods will have far greater resources — and a far larger organization to run. The Los Angeles Philharmonic’s annual budget, the largest of any American orchestra, is approximately $125 million — nearly four times Seattle’s, which is $32 million. But he said he was undaunted.

Here’s the full Seattle Symphony press release:

Seattle Symphony Board to Launch Search for Successor

SEATTLE – The Seattle Symphony’s President & CEO Simon Woods, who has led the organization since 2011, will leave in January to become the Chief Executive Officer of the Los Angeles Philharmonic, widely regarded as one of the nation’s most important and forward- looking orchestral organizations. A search committee led by Board Chair Leslie Jackson Chihuly and Chair-Elect René Ancinas will be formed to launch an international search for Woods’ successor.

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Filed under: Los Angeles Philharmonic, music news, Seattle Symphony

Dudamel and LA Philharmonic on Tour with Mahler’s Ninth

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Gustavo Dudamel and the Los Angeles Philharmonic will perform Mahler’s Ninth Symphony at Benaroya Hall. (VERN EVANS PHOTO)

The charismatic conductor makes his first-ever Seattle stop with the Los Angeles Philharmonic for a one-night performance of Mahler’s profoundly moving Ninth Symphony.

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Filed under: Gustavo Dudamel, Los Angeles Philharmonic, Mahler, Seattle Times

A Bright Mahlerian Cosmos from Dudamel and the LA Philharmonic

 

gustavo003-950My review of this weekend’s Mahler 3  by Gustavo Dudamel and the Los Angeles Philharmonic is now posted on Bachtrack:

No work is more emblematic of Mahler‘s symphonic philosophy than the Third. Or at least that version of his philosophy filtered by Sibelius, who recollected Mahler’s words decades after their meeting in 1907, long after his colleague’s death: ‘The symphony must be like the world. It must embrace everything’.

But it was another Mahlerian statement that Gustavo Dudamel’s interpretation with the Los Angeles Philharmonic brought to mind – a statement reported by his confidante Natalie Bauer-Lechner referring specifically to the Third Symphony when it was still a work in progress: ‘To me, “symphony” means constructing a world with all the technical means at one’s disposal’.

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Filed under: conductors, Gustavo Dudamel, Los Angeles Philharmonic, Mahler, review

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