Teodor Currentzis, the controversial and charismatic figure among contemporary conductors, consistently polarizes both politically and musically. The Greek-Russian conductor is currently touring Europe with his Utopia Orchestra, founded in 2022. On Sunday, he brought the Munich Isarphilharmonie to its feet with a program featuring Brahms and Mahler.
Exploring Musical Boundaries in Brahms’ Piano Concerto
The beginning was idyllic, the end paradisiacal. In between: abyssal, seething musicianship at the extreme of expression. Exploring musical boundaries is a hallmark of Currentzis. His Russian orchestra, “MusicAeterna,” was both praised and criticized for this. His new ensemble, Utopia, comprised of top musicians from around the world, also aims to dust off the classics. That this succeeded with Johannes Brahms’ Second Piano Concerto is not solely Currentzis’ achievement: in the young pianist Alexandre Kantorow, he found a kindred spirit.
Currentzis and Kantorow Develop High-Tension Dramaturgy
Pianist Alexandre Kantorow and conductor Teodor Currentzis developed an exciting dramaturgy in Munich. The opening horn call, answered by Kantorow with self-assured chords, felt less like an entry into a pastoral sphere. Rather, from the very first bars, it became clear that two individuals were meeting to tell a story – and for that, the curtain was rising. Together, Kantorow and Currentzis developed a high-tension dramaturgy that discharged in dramatic outbursts. For instance, Currentzis responded to Kantorow’s dark bass rumble with harsh timpani rolls. When Currentzis had the orchestral chords executed as angular sforzati, Kantorow played with full-bodied staccato.
Daring Interpretations and Lyrical Sounds at the Isarphilharmonie
As a duo, they pursued the lines of contrast in Brahms that might be softened in less daring interpretations. In the passionate second movement, Currentzis allowed such powerful crescendos to blossom that Kantorow had no choice but to respond with granite-hard, thundering basses. All of this quickly dissipated as soon as the secondary theme (tranquillo) began, allowing Kantorow to demonstrate his crystal-clear lyrical touch. The Frenchman, who rightly won the Tchaikovsky Competition in 2019 with this Brahms concerto, also proved to be a magician of sound in the Andante. With sensitivity and foresight, he crystallized the almost endless phrases into a nocturne. Rarely has a sold-out Isarphilharmonie been experienced in such motionless concentration, aiming not to miss a single precious note.
In the finale, Kantorow generously tossed off airy octaves, displaying Hungarian-inspired verve and brio. This spurred the ensemble and its leader one last time, with Currentzis allowing musicians who could, to play standing in the emphatically languishing orchestral passages. This was likely to demonstrate that here the orchestra was not merely accompanying the soloist, but rather two equals were meeting. This encounter resulted in a truly memorable concert experience. The audience applauded vehemently. Kantorow, not only technically flawless but also endowed with remarkable stamina, played Franz Liszt’s transcription of “Isolde’s Liebestod” as an encore. The Wagner piece as a polyphonic sound study. A triumph.
Frivolous Tragedy and Shaking Joy in Mahler’s Fourth
Currentzis consistently took Mahler’s instructions in his Fourth Symphony literally. While Brahms’ abysses had just been traversed, Currentzis set about exploring the dark spots in Gustav Mahler’s Fourth Symphony. The paradoxical, the frivolous tragedy, and the shaking joy are structurally characteristic of Mahler. Yet, Currentzis managed to open new doors here as well, by taking Mahler at his word. When Mahler wrote “broadly sung,” Currentzis had his Utopia Orchestra produce golden currents of warmth. Where it called for “wild,” the string bows crashed. With any other conductor, this might seem mannered or sensationalist, but Currentzis executed his program so consistently that it created an irresistible pull.
Munich Audience Honors Memorable Concert
This is due in no small part to his meticulously formed orchestra, which includes world-class musicians like concertmaster Andrey Baranov. Baranov shone as the violin-playing death in the second movement, before the slow movement introduced touchingly simple, shimmering sounds. Here, Currentzis held back, focusing on the intervening bizarre elements and the glittering conclusion, featuring soprano Aphrodite Patoulidou. In the finale, the symphony’s dreamy final punchline, she made her appearance, showcasing her beautifully rounded soprano in all registers. She did so convincingly, though her operatic gestures were occasionally distracting. This did not detract from the overall impression. After seconds of silence, the Philharmonie erupted in cheers and was surprised when another encore was announced. Richard Strauss’ song “Morgen!”, arranged for string orchestra, provided a meditative, untroubled bright conclusion to a truly memorable concert.
Source: https://www.br-klassik.de/aktuell/news-kritik/teodor-currentzis-utopia-muenchen-mahler-brahms-isarphilharmonie-kritik-100.html
