In the Czech Republic, people seem to feel a quasi natural closeness to the fantastic, grotesque, fairytale, bizarre, see Hašek’s “Braver Soldat Schwejk”, Kafka’s novels, the silent magician Pan Tau.
You can also read this at the music theater, for example, at Dvorák’s “Rusalka”, but above all on the operas Leoš Janáček, in the “thing macropoulos” or the “trips of Mr. Brouček” – which can be heard from Sunday at the State Opera, conducted by Simon Rattle.
His former employers, the Berlin Philharmonic, have now listed other rarely listening music from Janáček, and has been nested by the opera “Osud” (“fate”), which has been unknown in several meta -levels and may therefore be unknown. A composer processes his own, horribly ending love story. At the desk, fittingly, a Czech: Jakob Hrůša comes from Brno, where Janáček made most of his operas premiered, and is considered a specialist in the music of his homeland.
Densely
One thinks you can hear this: in the dark -swimming string carpet, the wind -driven bright melodies that make a dance, the densely woven microfigures, above them suddenly lays down a sweet Geilter solo by concert master Daishin Kashimoto.
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Unfortunately, Hrůša cannot keep the musical level. In Beethoven’s ES major piano concert, the last and most beautiful of the five, the orchestra plays strained and pressed, only the horns give an idea of the Elysium. Perhaps soloist and artist in Residence Seong-Jin Cho is the cause of this. The Korean makes too much speed, plowing through the score with an attack that is not only “hard”, but is intended to be expressive and therefore meaningless.
Where’s poetry?
Promoted for his poetic interpretations and also described by Rattle as a “poet on the piano”, nothing can be heard on this evening, at most in the Adagio, where Cho is apparently less pressure. But in the end the old question is: “Is less more or is more?” clearly decided in favor of the former.
Fortunately, there is another piece after the break, Bartók’s swan song: the “concert for orchestra”. And string with flashes and sometimes martial, sometimes toughring inherited tin and a finely coordinated sound balance, the Philharmonic and Hrůša find back to the strength of the concert.