公演レビュー 目次 / ホームページ
◆◆ コンサートレビュー 2 ◆◆


Boston Globe紙のon lineにいち早く掲載されたコンサートレビューです。 抄訳

Ono, Bronfman show dash in Bartok
By Richard Dyer, Globe Staff, 03/19/99

A few weeks ago, the highly heralded conductor Daniele Gatti canceled his entire American season, including his eagerly anticipated Boston Symphony Orchestra debut. The management's choice then fell on Kazushi Ono, who made his successful American debut last night.

Ono, chief conductor of the Tokyo Philharmonic for the last decade, was a Tanglewood conducting fellow in the summer of 1983; he is currently general music director of the opera house in Karlsruhe, Germany, where he became the first Japanese conductor to lead Wagner's complete ''Ring'' cycle.

Ono doesn't have Hindemith's Konzertmusik for String and Brass, Gatti's scheduled opening gambit, in his repertory, so he substituted Kodaly's ''Dances of Galanta,'' which made an effective pairing with Bartok's Second Piano Concerto. Slight of stature, elegant of demeanor, Ono is a big, vigorous conductor who led a performance that left some dots and crosses unattended to, but they really didn't matter all that much in the colorful, brilliant, and entertaining performance. William R. Hudgins provided a spicy clarinet solo.

The Bartok concerto is a super-virtuoso exercise open only to a handful of players. BSO pianists in the work have included Alexis Weissenerg, Christoph Eschenbach, Michel Beroff, and Andras Schiff, but probably the most interesting local performance was by Anthony di Bonaventura, David Hoose, and the Boston University Symphony Orchestra a decade ago - di Bonaventura is the only pianist this listener has heard in this work who played the outer movements with as much subtlety of voicing as he brought to the atmospheric slow movement. Last night's soloist, Yefim Bronfman, of course, is a pianist who has eaten his Wheaties and become a champion. This indefatigable artist boasts technical equipment of staggering speed, weight, and accuracy, although in the first movement Ono let the orchestra cover him up a good bit of the time: You could see Bronfman pumping iron, but you couldn't always hear him. Bronfman is more than a keyboard gorilla, however, and the high point of his performance was that slow movement, which was remarkable for subtlety of color and voicing. The audience responded with enthusiasm, but tympanist Everett Firth deserved greater acknowledgment than a general wave in his direction from the exhausted but happy pianist. Much of this concerto is a duet for piano and tympani, and Firth's command of rhythm, dynamics, and timbres was something even Bronfman couldn't match

Ono conducted the concerto from score and seemed relieved when it was over. The Kodaly and a suite from Prokofiev's ''Romeo and Juliet'' he led from memory. Ono's way with the ballet music would not have left a stageful of happy dancers; he encouraged the players to indulge in expressive rubato, and contributed quite a bit himself. But the performance told the story and communicated its powerful emotions, often with touches of originality - ''Montagues and Capulets,'' for example, lacked its usual swagger, and instead exhibited a sinister squareness that suggested the prison of hatred these people live in. There were some surpassingly fine solos from flutist Jacques Zoon; Hudgins; James Sommerville, leading the horns safely across some dangerous intervals; and violist Steven Ansell, who was heartbreakingly intense as he voiced the love theme at the moment of parting. Ono secured superlative ensemble virtues and dramatic pacing from the players. He has the gift of bringing out the best of an orchestra, and the players rewarded him by joining in the applause at the end.
This story ran on page D10 of the Boston Globe on 03/19/99.
c Copyright 1999 Globe Newspaper Company.

リチャード・ダイヤー(ボストン・ブローブ紙) 1999年3月19日

 つい2、3週間前に、ダニエレ・ガッティはアメリカでの最初の一連の演奏会をキャンセルした。 その中には、彼が熱望していたボストン交響楽団デビューも含まれていた。
 過去10年間東京フィルハーモニーの常任指揮者である大野は、1983年夏のタングルウッドで指揮者コースに参加していた。 また彼は、ドイツ・カールスルーエ歌劇場の音楽総監督でもあり、そこで彼は日本人として初めてワグナーの「指輪」全曲上演を果たしている。

 大野は、ガッティが演奏会の最初に置いたヒンデミットの「弦と管のための協奏曲」の代わりに、バルトークのピアノ協奏曲第2番との効果的なペアとなる、コダーイの「ガランタ舞曲」を置いた。 ほっそりとした体形にエレンガントな身のこなしにもかかわらず、大野はビッグで精力的な指揮者である。 若干のミスやあいまいな点はあったが、そんなことはどうでも良くなるような、色彩的で輝かしい、楽しめる演奏であった。 ウイリアム・ヒュジンズがスパイスの効いたクラリネット・ソロを吹いた(訳注:ガランタ舞曲の1曲目「レント」に長い、印象的なクラリネット・ソロの場面がある)。


 大野は協奏曲ではスコアを見て指揮したが、それが終わったときにはほっとしたように見えた。 コダーイとプロコフィエフの「ロミオとジュリエット」組曲では、暗譜で指揮したのである。 大野はバレエ音楽を、ダンサー達がステージ上を気ままに踊ることを許すようには扱っていないに違いない。 彼は奏者達に表現的なルバートにふけるよう仕向けもする。しかしその演奏は、ストーリーを語り、みなぎる激情を伝えてくるばかりか、「モンターギュ家とキャプレット家」という物語のオリジナルをも彷彿とさせるのである。


 大野は、オーケストラの最高度のアンサンブルを保ちつつ、演奏者達からドラマティックな歩みを引き出すことに成功していた。彼はオーケストラに最上の力を発揮させるものを持っている。 オーケストラのメンバー達も、終演後は(客席の)拍手に加わることによって大野に報いたのであった。
文責 堀江 信夫

公演レビュー 目次 / ホームページ