November 21, 22 & 23, 2024
Teatro della Scala
Milan, Italy
Filharmonica della Scala, Simone Young, conductor; Sergei Krylov, violin.
Johannes BRAHMS: Violin Concerto in D major, Op. 77
Richard STRAUSS: Ein Heldenleben
Giorgio Koukl | 26 NOV 2024
This year’s concert season at La Scala opened on November 21 with an all-star choice of program and interpreters. Violinist Sergei Krylov and the Australian conductor Simone Young interpreted a well-chosen and pleasant repertoire: Brahms and Richard Strauss.
Simone Young is generally considered a specialist for Wagner, having conducted to general acclaim in Bayreuth (Germany) the whole 16 hours of Wagner’s Ring. La Scala also called her to do so when conductor Thielemann had to endure some minor surgery and refused to conduct the whole project. In fact, she was the ponderous propeller of energy for the entire orchestra and an extremely sensitive accompanist for the Brahms concerto, never missing a single rubato. All in all, she was the real hero of the evening.
Brahms’ Violin Concerto in D major, Op. 77 is one of the cornerstones of the violin repertoire. Composed in 1878, it is a deeply expressive and technically challenging work, reflecting Johannes Brahms’ mastery of both orchestral and solo writing. It has three movements: “Allegro non troppo,” “Adagio” and “Allegro giocoso, ma non troppo vivace.” Brahms dedicated the concerto to his friend, violinist Joseph Joachim, who also contributed to refining the solo part.
Brahms composed this work during the summer of 1878 in Pörtschach, Austria. At its premiere in Leipzig, Joachim performed it under Brahms’ direction. While initially met with mixed reviews, some finding it too complex, it has since become one of the most celebrated violin concertos in the classical repertoire.
The version Mr. Krylov gave us this evening was very extroverted, literally bursting with energy. The orchestra followed with incredible precision, shading every single tiny rubato.
After a real outburst of ovations from the public, the violinist played an encore from Eugène Ysaye: a single movement from the solo Violin Sonata No. 2, Op. 27 in A minor, called “Les Furies” — and there certainly is a reason for its name. It is a perfect piece for showcasing all the violinist’s technical capacities.
Violinist Sergei Krylov and Australian conductor Simone Young with Filharmonica della Scala. (credit: Brescia/Amisano – Teatro alla Scala)
In the second part, Ms. Young presented one of the composers most dear to her: Richard Strauss.
Richard Strauss’ symphonic poem Ein Heldenleben (1898) is one of his most celebrated orchestral works. Known for its lush orchestration, autobiographical elements, and programmatic structure, the piece portrays the life of a hero, often interpreted as Strauss himself.
Although Ein Heldenleben is not explicitly programmatic, the title and structure suggest a narrative, a story behind it. Strauss stated that the hero depicted in the piece was not a historical figure but rather an idealized concept of heroism. However, many interpret the hero as a portrait of Strauss himself, reflecting his artistic struggles and triumphs.
The piece begins in E-flat major with a broad, confident theme played by the low strings and horns. This theme represents the hero, characterized by its grandeur, strength, and expansive melodic lines. The tonality is stable and triumphant, reflecting the hero’s bold character. Here, we had the pleasure to admire the iconic sound of the string section of Filharmonica della Scala at its best.
In sharp contrast, the second section introduces dissonant, fragmented motifs played by the woodwinds, representing the hero’s critics and opponents. These mocking and chaotic phrases lack the coherence of the hero’s theme, symbolizing pettiness and antagonism. Shrill, sharp woodwind interjections dominate, creating a sarcastic and caustic atmosphere. Again, it is a great moment for the orchestra, but this time, the woodwind section is the real hero.
The following section introduces a lyrical and romantic theme portraying the hero’s beloved companion, widely interpreted as Strauss’ wife, Pauline de Ahna. The solo violin plays a tender and expressive melody, weaving between moments of affection and passion. The first violin Francesco de Angelis delivered a noteworthy performance, playing this big solo moment with grace and the right amount of expressive power.
The most dramatic and energetic section of the piece, this part features an intense battle scene. The orchestra erupts into a chaotic interplay of themes, with heroic brass fanfares and tumultuous percussion driving the conflict.
Ein Heldenleben is often seen as a culmination of Strauss’ development as a composer of symphonic poems. Its autobiographical nature has sparked debates about Strauss’ ego, but it remains a monumental celebration of heroism and artistry. The work’s technical demands and emotional range make it a favorite among orchestras and audiences alike.
Australian conductor Simone Young. (credit: Brescia/Amisano – Teatro alla Scala)
What can be said about the version delivered by Ms. Young?
She is at her ease in nearly every orchestral ambient. Her gesture is not graceful, but with her brutal energy, she gets a strong and characteristic sound, which is pretty unique in today’s landscape of conductors. She is undoubtedly an excellent choice for the La Scala organization, which is certainly in need of much success nowadays.
For anyone interested, this concert can be seen on LaScalaTV until November 30. ■
This concert was repeated on Sunday afternoon at 2:00 pm, including a livestream broadcast.
EXTERNAL LINKS:
- Houston Symphony: houstonsymphony.org/
Read more by Giorgio Koukl.
RECENT POSTS
Simone Young and Sergei Krylov open La Scala’s orchestral season with dynamic Brahms and Strauss • 26 Nov 2024
Dynamic collaborative spirit defines conductorless performance by Houston Symphony musicians • 25 Nov 2024
