SEEN AND HEARD INTERNATIONAL

Other Links

Editorial Board

Google Site Search

Schoenberg, Schumann, Boulez and Mozart: Judith Bettina (soprano), Jennifer Black (soprano), Matthew Plenk (tenor), MET Chamber Ensemble, Weill Recital Hall, New York City, 9.11.2008 (BH)

The MET Chamber Ensemble
James Levine, Artistic Director and Conductor
Judith Bettina, Soprano
Jennifer Black, Soprano
Matthew Plenk, Tenor

Schoenberg: Five Pieces for Orchestra, Op. 16 (chamber version)

Schumann: "Ich denke dein," Op. 78, No. 3

Schumann: "Liebhabers Ständchen," Op. 34, No. 2

Schumann: "Unterm Fenster," Op. 34, No. 3
Schumann: "In der Nacht," Op. 74, No. 4

Schumann: "Tanzlied," Op. 78, No. 1

Boulez: Dérive 1

Boulez: Improvisation sur Mallarmé I

Mozart: Divertimento in D Major, K. 131


Sometimes James Levine's programming, stimulating as it is, causes a wee bit of head-scratching, trying to discern a larger concept.  This superb afternoon was a case in point: no-holds-barred readings of Schoenberg's Five Pieces for Orchestra (the chamber version) and two formidable Boulez scores, capped off with a sprightly Mozart Divertimento in D Major.

In between, Jennifer Black and Matthew Plenk sang with verve in a set of Schumann songs that quaintly evoked a turn-of-the-century parlor.  These five duets were charming enough, but compared to the strong drinks surrounding them, seemed like aperitifs.  That said, Ms. Black and Mr. Plenk seemed genuinely excited to be delivering these in the intimate acoustic of Weill Recital Hall.

This was my second hearing by Levine and his group of this version of the Schoenberg, and if it to my ears lacks the full-tilt charms of the original, it still works on its own terms.  In place of percussion, keyboards provide the anchor.  The fluidity displayed by the players was nothing short of remarkable, with Levine conducting with his typical clarity.  Boulez's Dérive 1 is a good rejoinder to some who find the composer sterile; I find it one of his most flat-out gorgeous pieces, and the ensemble made it seem like the highlight of the day.  Levine followed it with another Boulez beauty, albeit one more mysterious: the first Improvisation sur Mallarmé, one of the movements of Pli Selon Pli.  Soprano Judith Bettina seemed to savor the jagged, high-flying vocal line, abetted by the MET musicians in complete rapport.

The parade of classical periods ended with an entertaining reading of the Mozart, using a large contingent of players crowding the Weill stage.  If it seemed an abrupt transition after the Boulez, there is no reason both composers can't share the same expert musicians led by an insightful musical mind.  Delicacy and ferocity leapfrogged over each other, and the audience rewarded Levine's eclectic afternoon with a huge ovation.

Bruce Hodges


^{Back to Top                                                    Cumulative Index Page}