Having long been a negative critic of Maestro Levine for forcing atonal music to the Boston audience when only a minority (I firmly believe from all my unofficial polls in conversations at Intermissions) even think they 'should' like it if they listen to it often enough. Nevertheless, this blog is about superb conducting on the part of Maestro Levine in the presentation of this opera.
While I make no pretense of a vast knowledge of operas, I don't believe one needed more than the program, carefully read, the pre-concert lectures, and Google to prepare for an understanding of what Berlioz had in mind. The tale of the Greeks conquering (destroying is a better description) of Troy, Aeneas's escape to Carthage, and the melodrama as only that era with all their Gods and emotions can portray, with Aeneas finally off to conquer Rome to build a new Troy is a fascinating fantasy. I say fantasy rather than history because I believe it to be so with all the Gods and ghosts that were running around in the plot.
There was not an instant of boredom in the music. The theme changes, melodic and mesmerizing, with the accompaniment, and often harmony with the orchestra, adding to the tonal quality of those superb voices like the support of a strong, masculine arm for a maiden. They were flanked by the Tanglewood Chorus. Tempo changes kept the music so alive and vibrant, as did the strip above the orchestra bearing the libretto so that no one could miss the accuracy that Berlioz gave his music in tune with the story. The love scene as a 'night of ecstasy' stood out with its beauty as Solomon's Song, a poem of beauty unlike most of the rest of the 'begatting' in the Bible ... as though it wandered in from out of nowhere, noticed it was alone, but decided to stay anyway.
The last act had one of the longest, sustained volumes which included the full Tanglewood Chorus as well as the entire BSO orchestra at full blast. Unfortunately, a giant from Senegal sat in front of me so I could hear but not see the principal actors. Maestro Levine had placed them behind the cellos, flutes and who ever was back there on stage so they were not visible to those of us in orchestra seats. The giant bobbled his head, like a bowling all with ears, throughout the performance so I finally stopped straining around him when my neck got stiff. Even with the visual loss, I was spellbound by the music. Maestro Levine, high on his swivel chair, turned from side to side, rhythmically, waving his hands and pulling out some of the best music I have heard in a long time.
Lines like the dying Queen spoke of her abandoning lover, Aeneas, " I should avenge by serving him his own son's limbs in a hideous feast." and "Let his body lie on the field to feed the vultures." Written in 70 BC. Virgil knew the mantra of vengeance. The queen foretold that she would be avenged by Hannibal. There were lots of premonitions and omens with the Gods and ghosts bustling around pushing things.
I was struck at how little has changed over the centuries. When people are helpless, they pray to the Gods, God, or whatever/whomever they think will respond to them. Would that it were so!
No comments:
Post a Comment