Stepping in for Juanjo Mena, Brett Mitchell made an impressive Philharmonic debut.
Based on the 30-year-long, almost-daily correspondence between American painter Georgia O’Keeffe and the German-born photographer Alfred Stieglitz, Kevin Puts’s Brightness of Light is an expansion of his 2015 song-cycle, Letters from Georgia. Composed for Renée Fleming and Rod Gilfry in 2019, the highly programmatic piece is difficult to categorize. Enhanced by Wendall K. Harrington’s engaging and evocative projection design – which utilizes videos of O’Keeffe and images by both artists and copies of some of their letters – the opus touches on every aspect of the couple’s tumultuous relationship, from their first, business-like meeting, through their initial ardor and post-marriage cooling off, to their final separation, which left them physically distant though still emotional entwined.
The well-matched vocalists – who have performed the work with many US orchestras and opera companies – offered moving portrayals of their characters. As Stieglitz, Gilfry displayed clear diction, ringing tone and repeated outpourings of intense passion. With her warm and expressive soprano and attractively low-pitched speaking voice, Fleming perfectly defined the painter’s distinct persona, frequently yearning for Stieglitz, but at the same time beguiled with the landscapes and nature of the American Southwest. Together, the pair’s singing was most stirring in their big duets.
Under Mitchell, the Philharmonic was rhythmically secure and well-attuned to the nuances of Puts’s captivating score, and electrifying in the rapturous rendition of ‘The High Priestess of the Desert’. There were many memorable moments, most notably concertmaster Frank Huang’s humorous, scordatura-tuned accompaniment to O’Keeffe’s narration of her own attempts to play the violin, and the tuned gongs in the concluding ‘Sunset’.
Somewhat long-winded, with an outlandish scenario based on a 2nd century quasi-mythic love story involving a goatherd, a shepherdess, a herdsman, pirates and the god Pan, Daphnis et Chloé is perhaps best appreciated by simply sitting back and marveling at Ravel’s miraculous music. Mitchell expertly managed the score’s frequent tempo changes, alternating between languid wooing, ceremonial processions, exhilarating dances, sudden scenes of conflict, and tumultuous revelry. Flute, clarinet, horn, and trumpet soloists were uniformly eloquent, and Nancy Allen (recognized at intermission for her 25 years as the Philharmonic’s principal harp) delivered particularly graceful glissandos. The vocalizing of the 60-member NY Philharmonic Chorus, meticulously prepared by Malcolm J. Merriweather, provided additional color and strength to this ravishing rendition.
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