Matthias Pintscher, conductor
Jean-Yves Thibaudet, piano
Cleveland Orchestra Chorus
Lisa Wong, acting director
February 22, 2018
Ravel: Suite from Ma mère l’Oye
Ravel: Piano Concerto in D major for the Left Hand
Ravel: Pavane pour une infante défunte
Ravel: Daphnis et Chloé
While much of this year’s attention in the realm of French impressionism is focused on Debussy, it being the centenary of his death, the weekend’s Cleveland Orchestra concerts opted to acknowledge another anniversary – the 90th of Ravel’s 1928 concert tour across North America, wherein he introduced audiences this side of the Atlantic to many of his works for the first time. The program, a generous sampling of Ravel at his best, was devised by Charles Dutoit, who was to conduct it with several major orchestras across the country, but alas, now that the truth has come to light, TCO and others have severed ties with him – and better late than never. On hand to take the reins was the talented composer-conductor Matthias Pintscher, who previously served as this orchestra’s Daniel R. Lewis Young Composer Fellow from 2001-03.
The lovely suite from Mother Goose opened the evening, the fine flute solo in the “Pavane of the Sleeping Beauty” setting the tone of a nostalgic look backwards towards childhood. “Tom Thumb” had to be restarted after a minor disruption from latecomers filing in, but once matters got underway, limpid passages in the oboe and English horn conveyed a wonderful innocence, an innocence later marred by the lively portrayal of birds that expunged the titular character’s trail of breadcrumbs. Colorful orchestrations and playful pentatonicism made “Laideronette, Empress of the Pagodes” especially charming, while “Conversations Between Beauty and the Beast” was marked by the contrast of Afendi Yusuf’s lyrical clarinet with Jonathan Sherwin’s stilted and lumbering contrabassoon. The concluding “Fairy Garden”, not tied to a narrative, was a magical world of iridescent orchestral color.
Both of Ravel’s piano concertos have long been central to Jean-Yves Thibaudet’s repertoire, and one couldn’t have asked for a more convincing soloist in the idiosyncratic Piano Concerto for the Left Hand, cast in a single movement, 18-minute arc. Thibaudet took to the stage looking as dapper as ever in his custom-made Vivienne Westwood suit. The work began with ominous, rumbling tremolos and, most unusually, a contrabassoon solo (what a night this was for the contrabassoon!). A commanding entrance in the piano followed suit, and one had to see it to believe that Thibaudet was indeed playing with only one hand in this powerful extended monologue. In the more lyrical passages, Thibaudet beautifully brought out the melody, a feat for which the left hand is particularly well-suited as the melodic notes are by design played with the hand’s strongest fingers. The pianist was finely abetted by richness of the orchestra, greatly expanded from the relatively modest forces of Mother Goose.
Downward cascades in the piano, later echoed in the winds, marked the work’s livelier second half, dominated by a spunky martial theme and boisterous, jazz-inflected climaxes. An expansive cadenza put Thibaudet in the spotlight once more, and the concerto was brought to an enormously satisfying close, as only someone who has truly mastered this daunting work could do. A rousing ovation brought Thibaudet back for an encore, and in keeping with the evening’s theme, he selected the same composer’s Pavane for a Dead Princess – a perfect choice indeed. When introducing the piece he jokingly noted that this time he’d play with both hands; his performance gorgeously brought out the heart-wrenching melody over the sumptuously chromatic accompaniment.
Daphnis and Chloé is best known in the suites Ravel later distilled (the second of the two almost always the preferred choice), but at 50 minutes, the complete ballet remains the composer’s longest and most ambitious work, and it’s a shame it isn’t presented in its original conception more often – especially after a performance as memorable as what Pintscher and the Clevelanders gave. The ballet is particularly remarkable in its scoring for chorus, their wordless vocalizations alternating between open- and closed-mouthed for a variety of striking effects. Appearing early and often, the chorus added a rich layer to the already kaleidoscopic tapestry, further evidence that the well-worn suites are a mere shell of Ravel’s ambition. With several principals sitting out the first half, they appeared with vigor for Daphnis, of particular note was the silvery flute of Joshua Smith, and the winding oboe lines of Frank Rosenwein. Graceful solos were later had by concertmaster William Preucil, while the Danse générale was an energetic affair, boasting a glittering orchestration as only Ravel could do, replete with ample harp and celesta. The nocturne that closed Part I introduced a wind machine, an intriguing effect to be sure, but yet seemed perhaps out of place in a work otherwise so finely crafted (Stravinsky famously compared Ravel’s fastidiousness to that of a Swiss watch).
Part II opened with an interlude, made all the more mysterious by the chorus, and matters built to the aggressive War Dance, and there saw the evening’s most extrovert playing. Chloé’s Dance of Supplication was lush and sensuous by contrast, heightened by an English horn passage from Robert Walters. The familiar Daybreak marked the ballet’s final scene, a shimmering sunrise, with these liquescent rays of light a veritable apotheosis, and a much fuller effect was to be had with the inclusion of the chorus unlike as in the leaner suite. Pantomime was highlighted by an extended flute solo from Smith which represented Syrinx, also bringing to mind Debussy’s work for solo flute on the same subject. A further Danse générale closed the work which saw the chorus at full throttle for a most dramatic finish.