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Luxurious goulash; San Antonio Symphony, Sebastian Lang-Lessing, Jennifer Koh
Sebastian Lang-Lessing, Jennifer Koh
Ms. Koh’s Mozart seemed informed by classical-period performance practice. She projected a narrow but quite firm tone. She applied minimal vibrato, but she didn’t need more — her sure aim and careful shaping of the sound envelope gave her sound an attractive radiance, especially in her very sweet high register. Her phrasing was emphatic and slightly angular. This was far from the Romanticized Mozart that contemporary audiences might find more familiar, but that’s all to the good. Ms. Koh’s approach cast light on aspects of Mozart’s music that are often neglected.
The Kodály and Bartók works were beautifully assembled. One might have wished for more Hungarian folk character from Mr. Lang-Lessing, who situated both works a bit closer to Vienna than to Budapest, but his tempi were expertly gauged, his sense of line was impeccable, and he made all the dramatic effects hit home.
The finale of the Concerto for Orchestra was supremely exhilarating.
The orchestra has never sounded more confident, luxurious and unified. Superb solo work abounded — most notably from principal clarinet Ilya Shterenberg in the Kodály and from principal oboe Paul Lueders, principal flute Martha Long, principal trumpet John Carroll and principal horn Jeff Garza in the Bartók.
This was Mr. Lang-Lessing’s first San Antonio concert since February. The intervening weeks took him to Palermo for a Beethoven concert and to Beijing, where he conducted Richard Strauss’ “Der Rosenkavalier.” He amassed nearly as many miles as principal timpani Peter Flamm, who over the course of the season has wielded his mallets from stage right, left and center, on the floor and on a platform. For this concert his timpani were placed on the floor at stage right, ahead of the percussion and just behind the second violins. (Mr. Lang-Lessing departed from his usual antiphonal seating for this concert.) That location proved nearly ideal — his difficult chromatic passage in the Bartók came across cleanly, without boominess. Moving the percussion from the back row allowed the woodwinds to move farther back toward the rear wall, where (heard from my mezzanine seat) they gained some presence and improved the balance of the whole ensemble.