ASO with Jun Märkl and Giora Schmidt

Saturday’s Atlanta Symphony Orchestra with guest conductor Jun Märkl seemed to get off to a rocky start. The first piece on the program was Berlioz’ Benvenuto Cellini Overture, which is a charming and colorful piece with which to start an evening of music. Unfortunately, the orchestra was a bit muddy, particularly at the beginning. I suspect that things might have come out better if Märkl had waited a few seconds to get everyone’s attention before cuing the performance’s start: he leapt upon the podium and began the piece nearly immediately, significantly faster than I’ve seen from any other conductor. It wasn’t terrible but it also wasn’t the best way to start the evening.
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ASO: Robert Spano with Kirill Gerstein

I have the softest little black bag that the Atlanta Symphony Orchestra gave to me as a subscriber at the concert last night with a little Post-It calendar in it and I feel like it should be useful but I haven’t figured out what to do with it yet. It goes with the new color of the walls in the hallways of Symphony Hall, which were painted black. There are new portraits of the musicians, too, which are in vibrant color and in which everyone is dressed smart casual instead of how they dress on stage. I’m honestly not happy about the dark wall – it now feels even more cramped when the auditorium is emptying out. And the pictures seem kind of disingenuous if they’re going to keep the men of the orchestra performing in tails. It’s not really that bad, though: just not what I’d do. I was pretty happy at first to see that they got rid of the two projection screens hanging off of the proscenium on either side of the stage in favor of one large one suspended from between some of the acoustic shell’s drop panels – sitting in row C made the old ones a bit uncomfortable to watch – but then I noticed that they kept the projector in one of the little compartments in the mezzanine so now we have three lines through anything they put up there from the shadows cast by the hanging microphones over the stage. They do get credit for trying, though, and I think they finally fixed the torn cloth cover over one of the built-in speakers, which is unquestionably a positive. Maybe if I ever become a multi-decamillionaire then I’ll grant them the money for a real renovation.
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ASO: Robert Spano with Inon Barnatan

So, if you don’t know me and you haven’t read the About Me page on this blog, then let me warn you that I am neither a critic nor a journalist. This is really just where I dump my thoughts on some of the things that I go to so that I can remember them later. That said, I’m starting this blog entry with something whiny and unrelated to the concert itself.
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ASO: Christian Arming with Contrad Tao and Stuart Stephenson

Last night was a decent night at Symphony Hall. It began with Janáček’s rhapsody Taras Bulba. A dramantic and often exciting and beautiful work, Christian Arming did a decent job with it. Nothing stood out in his conducting of it that doesn’t jump out of the score anyway. I have to admit that my mind wandered a bit, which is probably more my fault than Arming’s: I’d been a little out of it all day.
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ASO: Robert Spano with Robert McDuffie

As I was walking along Peachtree toward the Woodruff Arts Center for last night’s concert by the Atlanta Symphony Orchestra, I passed a Subaru with an Alabama vanity plate that said “EROICA.” I love the idea that somewhere there is a Beethoven’s Third-Head that travels around visiting concert halls where they play Beethoven’s Symphony no. 3. Hopefully they enjoyed the concert last night: there was some good stuff in it.
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ASO: Pre-Concert Chamber Recital

I was fortunate enough to be sitting with a member of the ASO’s Talent Development Program before the Atlanta Symphony Orchestra’s pre-concert chamber recital this evening. I was fighting a horrible amount of grumbly grumpiness but she was sweet enough to humor some random adult asking her about her music studies. It’s amazing what a dose of youthful optimism can do to turn a mood around. Thanks to her, I was already in a pretty good mood when the music began and I’m grateful for that because it let me quickly settle into the best of the pre concert chamber recitals that I’ve been to this year.
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ASO: Stephen Mulligan with Behzod Abduraimov

Henrik Nanasi was originally engaged to guest conduct this evening’s concert but he was under the weather and couldn’t make it, probably due to the after effects of an alien abduction. This evening was also the second time in a row that I’ve seen concertmaster David Coucheron come only for the last piece on the program. I assume that his tardiness is due to the legal issues with his alleged involvement in the international kitten snuggling ring. Fortunately, when alien abductions and kitten smuggling threaten to ruin a concert, the Atlanta Symphony Orchestra can call on Assistant Conductor Stephen Mulligan.
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