Symphonic Productions
by Kevin McLaughlin
On Saturday night, August 2, at Blossom Music Center, Daniele Rustioni made his Cleveland Orchestra debut, conducting with clarity and joy but also with a flair reminiscent of Liszt’s charismatic presence. His physical expressivity drew a palpable response from the ensemble, an experience of shared energy between conductor, soloist and orchestra that recalled how Liszt could drive his fans into a frenzy.
Wagner’s Tannhäuser Overture opened the program with a musical struggle between spiritual penitence and sensual abandon. Rustioni conducted with cinematic sweep, drawing a radiant, finely layered sound from the orchestra. The Pilgrims’ Chorale emerged with solemn majesty before yielding to the seductions of Venusberg. Rustioni relished the contrasts: surging violin figurations, the pilgrims’ noble hymn, and a bacchanal that glittered with wild, unrestrained color. In the final section, the hymn returned, culminating in a resplendent and redemptive closing.
Liszt’s Piano Concerto No. 1 requires a soloist who can dazzle, charm, and converse, and Alessio Bax, making his Cleveland Orchestra debut, met the challenge with style. Though the score brims with theatrical flourishes, Bax approached it as chamber music on a grand scale.
The opening string unisons snapped with rhythmic bite, answered by Bax, who brought clarity and poise to Liszt’s virtuosic writing. Rustioni matched him gesture for gesture, drawing alert, responsive playing from the orchestra and shaping transitions with expressive flexibility.
…After intermission, Rustioni led Brahms’s Symphony No. 1 illuminating its underlying radiance. The opening movement grew organically from the timpani’s measured tread into a turbulent development, eventually arriving at a catharsis that felt earned rather than imposed. In the Andante, Brahms’s lyrical gifts came through in the warmth of the strings and the tender interplay between principal oboe Frank Rosenwein and concertmaster Liyuan Xie.
The finale began with glowing horn calls led by Nathan Silberschlag that set the stage for the symphony’s most radiant transformation. Rustioni led the hymn-like theme, often likened to Beethoven’s Ode to Joy, with glorious simplicity. He and the orchestra brought Brahms’s symphony to life as a luminous expression of Romantic idealism.
Rustioni’s smile at the end was infectious, his delight unmistakable — and both were met with extended, heartfelt applause from orchestra and audience alike.
by Sam Jacobson
…Dating from 1923, La notte di Plàton wasn’t performed in the US until 1968, conducted by Lorin Maazel who, in his formative years, served as a violinist in the PSO (including under the direction of de Sabata) before becoming Music Director himself. Pittsburgh most recently played the work with Gianandrea Noseda, a performance given while he held the PSO’s Victor de Sabata Guest Conductor Chair.
The work brings to a life a chapter of Plato’s biography in which he momentarily abandoned the intellectual in favor of the hedonistic. Wisps of the night air began, introducing a gentle, contemplative theme that blossomed lavishly. One could sense the influence of Strauss, perhaps tempered by the Italianate taste of Respighi. Matters burst into an exuberant bacchanale, encouraged by Rustioni’s energetic conducting. Pushed nearly to the point of excess, the music suddenly retreated into a somber brass chorale, marking the philosopher’s choice to ultimately pursue the life of the mind. Arching strings drew a pensive, meditative close.
The program closed with another view of Ancient Greece, this time based on mythology rather than history, with Ravel’s Daphnis et Chloé. The composer produced a pair of suites from the full ballet score, and Rustioni offered both of them. In the opening Nocturne, mysterious tremolos were punctuated by virtuosic flourishes in the winds, painting a hazy, surreal atmosphere. In the gritty Danse guerrière, one felt the full force of Ravel’s colorful orchestration. Liquescent flutes coalesced to create amongst the greatest of orchestral sunrises which opened the second suite. Rustioni and the PSO captured the grand sweep of this opulent, entrancing soundscape. The Pantomime saw a rarefied stasis before the gregarious, foot-tapping Danse générale that closed.