Yannick's Chicago Debut

Review of Yannick Nézet-Séguin conducting the Rotterdam Philharmonic Orchestra at Chicago's Orchestra Hall on February 20, 2015. As the young (for classical music) director of the Philadelphia Orchestra, this was an exciting debut. That being said, the hall was about half full. One wonders if it would have been cheaper to fly the audience to Holland for this concert, at least you'd save on transporting the instruments. 

One game I like to play when I'm watching a new conductor is to see who they are emulating. Most often it's something like Bernstein and Solti. Yannick was tricky to pin down: he studied with Carlo Maria Giulini, an under-appreciated conductor if you ask me, and there was some of Giulini there. Considering the lack of Baton -- my mind leaps to Stokowski, but his style was not as forceful or dominating as Stoki. For my money, Yannik conducts like Carlos Kleiber: rarely doubling and using the left arm expressively -- he was active on the podium, showing how the music should go, but it never felt theatrical. 

The concert opened with Mother Goose by Ravel which was only piece conducted by memory. This is where the parallel with Kleiber ends, because Kleiber always conducted everything from memory. 

Ravel's Piano Concerto in G was up next with Hélène "the wolf-lady" Grimaud (she has a long-standing dedication to conservation of wolves). I've always been concerned her hands don't get hurt working with the wolves but so far so good. 

2nd movt grimaud arpeggiated chords, sounded like grace notes throughout

3rd Bsns in ravel split up solo. Sort of worked. Mov't started ambitiously fast

Prokokofiev's 5th Symphony

1st. Cl too soft.
2nd. Cl too soft
3rd. Bass melody is a question about war. Response is answer

4th full of character, martial pizz, playful oboe, sweet dolce strings. The Principle bassoon plays with the oboe and was behind oboe 3 times but caught up by the 4th repetition. Yannik chose quick tempo throughout which was exciting in the first half but didn't give the melodies in second half time to sing
Perc were especially sensitive, were heard but never overplayed.

Encore was Shostakovitch Folk Feast from The Gadfly. It's a lot like Festive Overture (I need to learn the clarinet part), it some good practice fodder!

Although the Rotterdam Phil is the little sibling living in shadow of Concergtebouw, they had little to apologize for and the fruits of their long-term relationship with Yannick showed. The orchestra played at the peak of its ability which no matter the level makes for an exciting evening