The Week in Reviews, Op. 199: Anne-Sophie Mutter, Hilary Hahn, Daniel Hope
In an effort to promote the coverage of live violin performance, Violinist.com each week presents links to reviews of notable concerts and recitals around the world.
Anne-Sophie Mutter performed the Tchaikovsky Violin Concerto with the Chicago Symphony.
- Chicago Sun-Times: "...she delivered a comfortably elegant interpretation with every detail immaculately in its place and a warm, silken tone that was ceaselessly ingratiating."
- Chicago Tribune: "Her glamorous presence, typically swathed in a stunning, skin-tight, red-and-black gown, presaged the strong roster of guest artists and conductors promised in the 127th season."
- Chicago Classical Review: "Mutter’s sound was remarkably chameleonic, shifting colors with each new melodic gesture, change in tempo, or adjustment in orchestral texture. Her refusal to submit to a predictable interpretive routine was as bracing as it was unsettling, providing interest to each bar of music, but sometimes making connections in the sprawling score difficult for the listener to trace."
Anne-Sophie Mutter. Photo by Monika Höfler.
Anne-Sophie Mutter performed Mozart’s Violin Concerto No. 5 with the Chicago Symphony.
- Chicago Tribune: "Those listeners who favor a more straightforward, more classical view of this sunny music, as I do, went home disappointed. To my ears, Mutter’s penchant for extreme contrasts of dynamics, tone and speed sounded anachronistic and crossed the line from expressive refinement to mannerism."
Hilary Hahn performed the Dvorák with the Dallas Symphony Orchestra.
- The Dallas Morning News: "Hilary Hahn...supplied her own big, bold sound; technical wizardry, including laser-pinpointed pitches on high; and suave expression."
Daniel Hope premiered the Alan Fletcher Violin Concerto with the New Century Chamber Orchestra.
- San Francisco Chronicle: "Fletcher’s ingratiating three-movement concerto, written for Hope, is built largely on water imagery — lapping waves, little repetitive swirls of melody, and an overall sense of restless fluidity."
Christian Tetzlaff performed the Brahms with the Pittsburgh Symphony Orchestra.
- Pittsburgh Post-Gazette: "Mr. Tetzlaff’s playing was nimble, dancing just ahead of the orchestra in the finale."
Daishin Kashimoto performed the Mendelssohn with the Singapore Symphony Orchestra.
- The Straits Times: "The natural fluidity of his technique meant that all the solo's twists and turns were more than comfortably negotiated....There was some getting used to to his slightly acidic tone, but this did little to detract from the overall picture, which also drew vociferous applause."
Finally, it's not a violin performance, but a play somewhat inspired by Philippe Quint leaving his violin in an airport taxi has premiered Off Broadway.
- The New York Times: "'The Violin' aims to be a meditation on lives good, bad and unlived, though its philosophy never convinces. The crime-caper setup has some of the savor of early David Mamet and much of the macho posturing. But Mr. McCormick’s plotting, with its florid back stories and unsurprising revelations, is ploddingly predictable....I would have preferred Mr. Quint’s cab-stand concert."
Please support music in your community by attending a concert or recital whenever you can!
TweetReplies
Was this the Tchaik, or the Mozart?
"Ingratiating" is apparently the word of the week.
I am in complete agreement with the earlier comment: Mutter's performance/interpretation of the Tchaikovsky violin concerto was one of the worst I have ever heard. The first mvt was somewhat schizophrenic, in both style and tempo. Much of the slow second mvt was played with either NO vibrato at all or with an extreme vibrato; abruptly switching from one to the other. And the third mvt was more of the same harshness. Overall, the piece lacked beauty and romanticism - it came across as unsettling, disjointed, and steely. What a disappointment, particularly because she has such amazing ability and technical prowess. Sadly, it was not at all like the Anne-Sophie I grew up admiring. I think that Ann-Sophie has started to put herself above the music that she is performing. I do respect that there is room for a performer's own spin or interpretation of a piece of music, but I feel she grossly abused that privilege on both occasions.
DITTO for her performance in Buffalo the previous week.
Let the public hear it! We can make our own decisions. She is so, so attractive. That helps.
This article has been archived and is no longer accepting comments.
Violinist.com is made possible by...
Dimitri Musafia, Master Maker of Violin and Viola Cases
Johnson String Instrument/Carriage House Violins
Laurie's Books
Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine
September 26, 2017 at 05:09 AM · Mutter’s violin concerto was totally out of sync with the orchestra, and she simply couldn’t control slow, high tones especially in the first movement. I don’t understand why audiences gave her ovation as it was one of the worst performance I’ve ever seen at Chicago Symphony Center. Maestro Muti seemed unpassionate, while the orchestra did their best to salvage the performance.