Cleveland Orchestra @ Severance Hall 1/8 For anyone who thinks that Richard Wagner's music is entirely bombastic and too long by half, they should only listen to Wagner's Wesendonck Lieder as performed by the amazing Measha Brueggergosman with Franz Welser-Möst conducting the Cleveland Orchestra. Luminous, ethereal and shimmeringly gorgeous are but some of the terms one could use to describe this performance. Yet, for all the stillness inherent in the music and the performance, there was an abundance of tension and energy, harnessed to the glory of the words by Mathilde Wesendonck.

Gowned in a striped fabric that echoed the colors of the instruments surrounding her (and bare feet! – I love it!) the soloist was extremely attentive to the emotions demanded by the words she sang so effortlessly. The orchestra was astonishing in the ultra-soft accompaniment throughout, guided by Mr. Welser-Möst. The second of the songs also featured a ravishingly beautiful solo by principal cellist Desmond Hoebig and another by principal oboeist Frank Rosenwein. It was a performance of unmatched delicacy that one hopes will be adequately captured for the CD to come from Deutsche Grammophon.

The second half of the program was equally ear- and eye-opening: Symphony No. 7 in C major, Op. 60 "Leningrad" by Dmitri Shostakovich. The first (and longest) movement –Allegretto–is noted for the eleven repetitions of the ‘war’ theme. After a short peaceful and beautiful opening segment which must have mirrored the beauty of the city, came sudden turmoil: the war. Guided throughout by the robot-like snare drum (extraordinary concentration by Tom Freer) the simple theme borrowed from Lehar’s frolicsome operetta The Merry Widow increases in volume and force with each repeat.

Had there been even one more reiteration, I think I would have run from the concert hall. I’m sure I have never been so moved by any music I’ve ever heard as I was by this performance. It was at once awesome and terrifying—and incessant!—so meticulously conducted and played in imitation of the invading army marching ever onwards, I found myself in tears when the organized cacophony finally ended. I could only think of the inhabitants of Leningrad listening to the steps of that army coming ever closer. And slowly going mad.

The second movement was almost giddy by comparison, allowing for enticing solos by nearly all the principal winds, plus violin, xylophone and tuba. Especially notable were the three flutists triple-tonguing over the melody played by the bass clarinet. This was but one of several interesting juxtapositions of higher pitched instruments over the lower pitched ones, adding yet more unusual elements to the mixture.

There were extra brass instruments placed on either side of the dress circle in the very front section nearest the stage, at times playing with their cohorts on stage, at other times by themselves. Gradually, as the 70-minute piece neared it’s end, the music became more optimistic in nature, and returned to its tonal major key foundation. It was an extraordinary performance, one that should be at or near the top of the year’s best concerts. And it was only the first one! Wow.

This weekend will again see Mr. Welser-Möst conducting, in the second of three concert series before the troops head off to Florida and New York City. Also this weekend, on Sunday evening, is the 29th annual Martin Luther King, Jr., Celebration Concert, followed on Monday by the Day of Music. For tickets or additional information, visit the website http://www.clevelandorchestra.com or call 231-1111.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com
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