Assessment: Visitor conductor JoAnn Falletta makes sensible VSO debut

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The Vancouver Symphony Orchestra’s newest Musically Talking/Surrey Nights pair of live shows was one thing out of the extraordinary: Visitor conductor JoAnn Falletta’s debut with the orchestra.

Her program brilliantly confirmed what an adventurous outsider can add to the VSO’s common classical food plan.

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Again within the day, the VSO’s Musically Talking Sequence was designed to be high quality repertoire with added commentary. Good concept, however uneven outcomes: Not all visitor conductors embrace the thought of platform chat — or handle it with each enthusiasm and ability.

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Falletta confirmed precisely the way it’s completed. Inside seconds of her “Hey, I’m JoAnne” opening gambit, she established viewers belief and rapport — which was an excellent factor, as in that half this system was made up of comparatively obscure French Modernist music.

The night launched with Ravel’s evocation of previous Vienna, La valse. At first it’s all enjoyable and video games in 3/4 time; then it turns darkish, and ends in spectacular disaster.

Falletta took it by the e-book, an interpretation that was refined and intrinsically unsentimental, solely letting the masks of bogus Gemütlichkeit drop within the remaining moments of the intricately crafted rating. With out overselling the disturbing nature of the piece, Falletta hinted at its connection to the First World Conflict, however didn’t drive her ideas on the viewers.

Subsequent up got here two items by Ravel’s near-contemporary Florent Schmidt (1870—1958) that includes mezzo Susan Platts. With sudden generosity, Falletta invited Platts to introduce Musique sur l’eau; she demurred with a modest “I’m right here to sing, not discuss,” however nonetheless gave us the within items on the slight however fascinating work.

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This new-to-Vancouver delight can maintain its personal with Debussy and Ravel, particularly when sensitively performed and superbly sung. Extra Schmidt ended the primary half, his barely higher identified La Tragédie de Salomé, an prolonged tone poem with voices.

Platts was joined by a small cohort of ladies from the UBC Opera Ensemble. Although unfamiliar to many of the viewers and, one suspects, many within the orchestra, the outcome was evocative and expressive, a charmingly good exercise.

The orchestra performs a handful of items from the French repertoire typically sufficient, however it’s honest to say that it doesn’t at all times excel within the French fashion — an ineffable combo of beautiful element and a centered readability — as constantly because it does Austrian/German or Russian music.

Within the Schmidt items and, after the interval, the second suite from Albert Rousell’s Arianne et Bachus, Falletta had the orchestra exploring little-known terrain, with basically good outcomes. The Rousell specifically had some insecure moments, however given the conductor’s craft and enthusiasm, all of it labored out.

Ending with Ravel’s notorious Boléro demonstrated the showmanship behind Falletta’s programming idea. All conductors have their very own tackle this electrifying chestnut. Falletta opted for readability and restraint, maintaining the wind and brass solos tasteful and permitting the piece’s reductive eloquence to talk for itself and by itself phrases.

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Enthusiastic applause confirmed that the conductor, the orchestra and the viewers rated this primary date a substantial success.

Maybe we will all do that once more — and sooner fairly than later?

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