by Robert Leeper
Programs pairing Beethoven with the work of a contemporary composer have become increasingly common of late, and with the prevalence of new music at the Mostly Mozart Festival, one might expect to see just this type of programming. Instead, Wednesday night saw the Festival Orchestra sticking to well trod ground with an all-Beethoven program at Avery Fisher Hall, placing the maestro's Symphony No. 9 alongside the Overture to The Consecration of the House.
Fresh from his recent Proms appearance in London, Gianandrea Noseda led the orchestra with fiery energy. His deft movements shrank to the level of the quietest plucked viola, while carving his will into the powerful horns and timpani. He led a potent – if not particularly subtle – performance at an uptempo pace.
The Consecration of the House sufficiently whet the appetite of the completely packed house. Written in Handel’s French Overture style, the stately introduction burst forth jubilantly before being interrupted by trumpet fanfares, accompanied by brisk bassoons and accents from the notably small string section.
Avoiding the polemical adherence to Beethoven’s original metronome markings championed by conductors such as Sir Roger Norrington, Noseda's 9th was marked by crisp phrasing and grace, without abruptness. The Festival Orchestra – small by Beethoven standards – played with a refreshingly light touch, leaving the opening murmurs in the strings to spill forth in a cascade of falling fifths before giving way to the powerful brass.
The quick pace did have its issues, mostly apparent in the Adagio. Noreda danced nimbly through, leaving behind a nice melody but little of substance to hang onto. An opportunity to savor Beethoven’s genius in a spiritual dimension was lost.
But, that same celerity propelled the symphony's choral Finale to a thrilling conclusion. The Concert Chorale of New York sang brightly, never stumbling over the breakneck pace. Singing one of the most nerve-racking bass parts in the repertoire, Ildar Abdrazakov took it in stride with a rich, easy-flowing voice. He was joined by soprano Erika Grimaldi, mezzo-soprano Anna Maria Chiuri, and tenor Russell Thomas.
Always difficult to do Beethoven in an interesting way, Noseda’s refreshing look at Beethoven fell right in line with Mostly Mozart's emphasis on innovative, challenging programming. Perhaps it wasn't such a familiar choice after all.