November 1, 2 & 3, 2024
Jones Hall
Houston, Texas – USA
Houston Symphony, Sir Donald Runnicles, conductor; Brinton Averil Smith, cello; Joan DerHovsepian, viola.
Richard WAGNER: Overture to Tannhäuser (1845)
Engelbert HUMPERDINCK: Selections from Hansel and Gretel (1892)
Richard STRAUSS: Don Quixote (1897)
Lawrence Wheeler | 4 NOV 2024
Friday, November 1, was the first of three concerts with the Houston Symphony at Jones Hall. Making his Houston Symphony debut, conductor Sir Donald Runnicles led a program that included works from three German composers of the Romantic Period: the Overture to the opera Tannhäuser by Richard Wagner, selections from the opera Hansel and Gretel by Engelbert Humperdinck and Don Quixote by Richard Strauss. Brilliantly assembled by Sir Donald, himself a knight, two of the pieces involve knights (or a wanna-be knight), along with madness. All three works deal with the death of the protagonist or antagonist – involving redemption, self-revelation, or self-preservation.
Wagner wrote both the music and the librettos for his operas. Based on several 14th-century tales of Minnesingers, chivalry, and the legend of Venus, the story of the knightly bard Tannhäuser is one of sin and repentance. The theme revolves around the struggle between sacred and profane love. At the end, he is redeemed in death through the love of a chaste woman. The Overture, unusually lengthy for its time, combines these elements. It begins with the noble and stately “Pilgrim’s Chorus,” a prayer for salvation through repentance. The music’s character changes with a highly chromatic representation of Venusberg, home of the seductress Venus and unholy lustful pleasures.
Holding the baton in his left hand, Runnicles led a highly detailed and dynamic performance of the overture. Beginning with the stately theme in doubled clarinets, bassoons, and French horns, he shaped the phrasing with his right hand. As evidenced by the playing, it was clear that this was a master musician with consummate knowledge and understanding of the score. While his beats were clear, that did not appear to be the point. He was creating sounds at the moment, for the moment. The musicians responded in an emotional yet technically controlled way, with feelings originating below the neck.
Examples of exceptional playing were manifold. The French horns are a standard feature of German romantic music. Contributing several fine solos and leading the excellent French horn section was William VerMeulen. With Joan DerHovsepian sitting principal for the Overture, the violas had many prominent parts which projected quite well. Having worked with Sir Donald during the summer for over 20 years, her leading was hot-wired into his intentions. The “Venus Call” was eloquently played by clarinetist Thomas LeGrand and exquisitely accompanied by concertmaster Yoonshin Song. The trombones were glorious in the final “Pilgrim’s March” while firmly supported by timpanist Leonardo Soto. The final whole-note chord had stunning breadth and balance. In a show of appreciation, many in the audience stood up to applaud.
Humperdinck’s Hansel and Gretel is a modification of the original story by the Brothers Grimm. In this version, the two young children get lost in the forest rather than being abandoned, and they both throw the Gingerbread Witch into her own oven to save themselves. Richard Strauss conducted the 1893 premiere. The score contains some of the most beautiful music of the Romantic Era and some of the most skillful orchestration. The Prelude begins with the well-known “Evening Prayer,” scored for four French horns and two bassoons. This is joined by the strings, where Runnicles maintained the “endless melody” without breaking the line. All dynamics were scrupulously adhered to, especially the soft and delicate dynamics in the violins that portrayed the two lost children. Given the interest of each part in the score, it would be easy to advocate parts of lesser importance, but with Runnicles’ masterful control of complex components, the players exercised superb discipline. The score was so illuminated that it was as if pictures were being shown on a screen.
Following the Overture, Runnicles offered several parts of the opera, including “The Witch’s Ride,” “In the Forest,” “Evening Prayer,” “The Gingerbread House at the Ilsenstein,” and “The Witch’s Waltz and Pantomime.” All parts were character-laden. “The Witch’s Ride” was robust and gutsy, and the “Evening Prayer” was quite touching. Cellist Christopher French and violist Wei Jiang played their solos before “In the Forest” quite admirably. Again, the final chord was perfectly balanced. From the center of the orchestra section where I was seated, the balance within and between sections sounded ideal.
Richard Strauss’ tone poem Don Quixote, subtitled “Fantastic Variations on a Theme of Knightly Character,” is based on Miguel de Cervantes’ Don Quixote de la Mancha. Written in 1605 and 1615, it is considered the first modern novel, even the greatest. Accompanied by his sidekick and “squire” Sancho Panza, Don Quixote’s exploits shift between humorous and tragic, real and illusory, while creating chaos wherever he goes. The basic theme of a self-deluded, even insane leader recruiting and being followed by someone of lesser station and intelligence has widespread application. Sancho eventually becomes “Quixotized” while the Don returns to reality only on his deathbed. The most literally literary of Strauss’ compositions, it closely follows the book’s storyline with a Theme and 10 Variations. It is a prime example of program music.
Featured soloists in the Strauss were principal cello Brinton Averil Smith as Don Quixote and principal viola Joan DerHovsepian as Sancho Panza. For Don Quixote the violas were seated on the outside. They are given several important and exposed section solos, each played with exceptional clarity and rhythmic unity. After Sancho Panza was introduced by bass clarinet and tenor tuba, DerHovsepian’s sanchismos were played with self-assurance and a well-projected sound on her Grancino viola. Accurate and characterful, she emphasized parts with great energy, sometimes rising from her chair. Sancho’s verbal spurts were portrayed well, along with a brief country dance interlude.
While it is common for orchestras to invite a solo cellist to perform Don Quixote, that part was exceptionally well served by Smith. He was totally committed, playing with emotion enhanced by an intense but varied vibrato. Don Quixote’s soliloquies were a highlight. In some parts, the orchestra covered his refined sound. Smith is an extraordinary cellist, with a technique equaled by few. His playing was the embodiment of romanticism.
The orchestra sounded fantastic in Don Quixote. Concertmaster Yoonshin Song portrayed the knight’s love interest, Dulcinea, with several ravishing solos using a warm vibrato. Cellist Christopher French had several unison duos with Smith, played as one. The offstage trumpets were perfection. William VerMeulen’s stellar French horn solos were joined by richly colorful lower horns. Trombones and timpani added volume and grandeur, with principal tuba David Kirk giving a grand sigh. Clarinetist Mark Nuccio contributed imaginative solos, and duets of oboes and bassoons provided humor. The contrabassoon echoed Kirk’s sigh. Throughout, there was a kaleidoscope of color and character. The new Jones Hall acoustics are revealing sonic treasures with limitless possibilities. ■
EXTERNAL LINKS:
- Houston Symphony: houstonsymphony.org/
- Sir Donald Runnicles: donaldrunnicles.org
- Brinton Averil Smith: brintonaverilsmith.com
- Joan DerHovsepian: houstonsymphony.org/about-us/musicians/joan-derhovsepian
Read more by Lawrence Wheeler.
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