The Minnesota Orchestra launched its Russian festival this week with concerts devoted to the works of Tchaikovsky, Shostakovich, Prokofiev, and Stravinsky, led by Courtney Lewis. Both local papers were impressed. The Pioneer Press wrote 340 words of praise, the Strib 465.
The performance began on a somber note with the addition of Stephen Paulus’s “Veil of Tears” from To Be Certain of the Dawn. Paulus passed away on October 19 at the heartbreaking age of 65. Words don’t suffice, and I hope this moving musical tribute brought a measure of peace to the family and friends who have lost so much.
After the moment of reverent silence, excerpts from Tchaikovsky’s The Snow Maiden began. This music sounds as if it belongs in a snow globe: the Nutcracker minus the “oh no not again” baggage of the omnipotent warhorse. Warm horn calls, silvery woodwinds, rich and shapely lines in the strings… I craved a bit more forward motion at certain points earlier in the piece, but the Dance of the Tumblers finale more than made up for that with a truly dizzying propulsion. I’d never heard The Snow Maiden before, but it’s going on my playlist of winter favorites for sure.
Pianist Kirill Gerstein took the stage for Shostakovich second concerto and Prokofiev first, performing with clarity, nuance, and sensitive, exciting musicality. Moments in the interior of the first movement of the Shostakovich were absolutely explosive, and the songfulness of the andante was almost vocal. He brought similar intensity to the spiky Prokofiev first. What manic, electric repertoire, and what manic, electric playing!
The program officially closed with Stravinsky’s Symphonic Suite from The Fairy Kiss. Tchaikovsky practically deserves a co-writing credit here, as Stravinsky used bits and pieces of Tchaikovsky as subjects. To put it in bloggy terms, this is Stravinsky writing fanfiction in Tchaikovsky’s universe. My relationship with Igor is one based in ambivalence, and that’s likely why I wasn’t particularly grabbed by this piece or performance as a whole. That being said, there was some brilliant orchestral playing going on (as there always is): some beautifully blended contributions from the woodwinds, and strings full of power and character. But I do agree with the Pioneer Press that the program order would have worked better with the Stravinsky and Tchaikovsky reversed.
The encore was the finale from the Firebird: a piece that will forever have a place in the heart of Twin Cities audiences as one of the anthems of the lockout. Good news: the phoenix has risen from the ashes, and you can hear it sing this program once more tonight at 8pm at Orchestra Hall.
And I came right in the middle between the two newspaper reviews, at 397 words. Were you at the concert? Leave your thoughts below and contribute a microreview of your own! The more people talking about the Minnesota Orchestra, the better.
Tickets for tonight here. Be sure to check out the collection of Russian art on display in the lobby, on loan from the Museum of Russian Art.