Gustavo Dudamel has officially commenced a significant phase in his artistic journey, marked by the beginning of his 17th and final season as music director of the Los Angeles Philharmonic.
As he transitions toward his new role as the designate music and artistic director of the New York Philharmonic, Dudamel faces the challenge of creating memorable musical experiences for both cities during this time.
The opening concerts for the two orchestras took place two weeks apart, with New York’s performances setting the stage first.
Dudamel selected prominent works by visually compelling composers Béla Bartók and Charles Ives, both of whom struggled for acceptance in the city’s classical music scene during their time.
The response from the New York audience was notably optimistic and receptive, reflecting a willingness to embrace Dudamel’s vision.
Following a tradition he established in Los Angeles, Dudamel inaugurated his LA Phil season with a newly commissioned piece; this year, it was Leilehua Lanzilotti’s “of light and stone.”
This composition, inspired by the beauty of Hawaii, resonated well with the audience, marking an encouraging start to the season.
Upon taking the stage at Walt Disney Concert Hall, Dudamel appeared somewhat tentative, likely due to the imminent nature of his departure.
However, he was warmly welcomed by a full house, and the palpable energy shifted his demeanor from hesitancy to one of confidence and ownership.
The new piece he introduced this year was “Earth Between Oceans” by Ellen Reid, a collaboration that reflects Dudamel’s aspiration to blend his two familial connections in music.
Reid’s work, a co-commission with the New York Philharmonic, encapsulates an environmental narrative that connects Los Angeles and New York through stunning orchestral textures.
Her composition is divided into four movements, each depicting the elemental forces of earth, air, water, and fire, along with journeys through contrasting urban environments.
These movements ranged from representing a cold New York winter to the intense narratives surrounding fires in Altadena and the Pacific Palisades, culminating in the exhilarating imagery of surf riding over turbulent waves.
Accompanied by the Los Angeles Master Chorale, Reid’s composition conjures atmospheres that challenge conventional sounds, offering an enlightening sonic experience for the audience.
The audience was enveloped by this gripping and expansive musical landscape that kept them engaged throughout the 30-minute performance.
As the evening progressed, Dudamel concluded the concert with Richard Strauss’ “Alpine Symphony,” a monumental work requiring 125 orchestral musicians to traverse the peaks and valleys of a musical mountain experience.
The score, known for its grandiosity and luxuriance, elicited strong reactions; audiences either love or find it ostentatious.
Fortunately, love prevailed during this concert, with Dudamel conducting with the same enthusiasm he displayed when he first performed the piece at Disney in 2008, a prelude to his tenure as music director.
His energetic interpretation delivered a refreshing take on the work, contrasting sharply with his interpretation at the Salzburg Festival last summer, where the Vienna Philharmonic’s performance felt more distant and formal.
In Los Angeles, the LA Phil’s sound was vibrant and immediate, bringing the audience along for a deeply felt experience of nature depicted through music.
Dudamel’s orchestra brought to life the vivacity of a rainstorm and the pastoral nuances of cowbells, imbuing the performance with a sense of authenticity.
The orchestra’s renewed lineup also contributed to the evening’s success, with new members rising to prominence; Melody Ye Yuan was named principal violin from the second violin section, while Ryan Roberts made a striking mark as the new principal oboe, delivering a captivating solo during “Alpine Symphony.”
As Dudamel embarks on this dual-city journey, the anticipation of what’s to come for both orchestras fills the air with excitement and potential.
image source from：latimes
