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Karina Canellakis, Jeremy Denk
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Milwaukee Journal Sentinel
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St. Petersburg Philharmonic
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San Francisco Chronicle
Guest conductor Joshua Weilerstein leads BSO in a fine concert
The Washington Post
The Baltimore Symphony Orchestra hosted two formidable talents Saturday at Strathmore, one on the cusp of what should be an important career, the other already with 62 million clicks on YouTube. Guest conductor Joshua Weilerstein, who’s 27 but looks about 15, recently completed a three-year term as assistant conductor of the New York Philharmonic and now has a busy, growing career here and in Europe. He is strikingly gifted, with world-class potential.
In Mendelssohn’s “Scottish” Symphony, Weilerstein kept textures tight and vitality high. Weilerstein is a thinking musician, constantly seeking the most effective means of realizing the music, often changing the metrical units of his beat during the course of a movement. He has a variety of gestures, from standing motionless to practically dancing, but all served a technical purpose (as opposed to just pantomiming), and the orchestra fed gratefully off of his birr and precision. Indeed, the Scherzo was some of the finest playing I’ve ever heard from the BSO. In slow music, he is perhaps still figuring out the best way to channel his energy — long lines were not always apparent — but with this level of talent, I predict nothing but success going forward.
Pianist Valentina Lisitsa, who parlayed some self-produced YouTube videos into a major international career, offered Mozart’s D minor Concerto (K. 466) rather than the knuckle-busting romantic repertoire for which she is famous. It was a curious and slightly disappointing performance with moderate, almost sleepy tempos, occasional split notes and overly fussy phrasing in melodic passages. This last point came in tandem with a recently acquired affectation, appearing to mouth words as she plays, a la Glenn Gould (which you don’t see in Lisitsa’s earlier YouTube performance of the work). She passed up interesting cadenzas by Beethoven, Brahms and Busoni and chose a prosaic one by Johann Hummel — possibly because it gave her the opportunity to show off her remarkable double trills — but the audience seemed underwhelmed at the end.Read the rest of the review here