ASO: Thomas Søndergård with Blake Bouliot

I decided to leave at intermission rather than suffer more of Søndergård’s soulless Sibelius. I love Sibelius when played well, but played poorly his work can be terribly boring. I’d say that I was disappointed, but my expectations weren’t high given that this wasn’t the first time that I’ve heard him with the ASO and the two times that have occurred since I started keeping this journal were also fairly poor performances. Two and a half concerts worth of my time is enough; I’ll not be using my ticket for next week’s performance featuring him on the podium even though the program is really interesting.
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ASO: Thomas Søndergård with Daniel Moody, Jessica Rivera, Stephanie Lauricella, Thomas Cooley, & Andrea Mastroni

The last time that I heard Thomas Søndergård conduct the Atlanta Symphony Orchestra, I wasn’t terribly pleased with his interpretations of the French Impressionist works on the program but thought that he might actually be pretty good with a program of German works. Well…I’m not quite ready to completely write him off, but between that concert and the one I attended last night, I’m thinking that he may have a pretty narrow range and some pretty bad ideas. The concert wasn’t a disaster by any means, but it also wasn’t very good and it’s largely due to his interpretations of the pieces on the program.
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ASO: Thomas Søndergård with Alexandre Tharaud

Have you ever wondered what the works of the French Impressionist composers would sound like if conducted in a Wagnerian style? I sure haven’t but, thanks to Thomas Søndergård, I now know that it would sound pretty lame. Or was it just me? When an entire concert is this far off mark then I find myself doubting my own ears, so I guess that maybe there is a chance that this evening’s ASO performance wasn’t played like it was a program of late German romanticism and I’m just crazy. Take that as you will.
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