Five concerts, four conductors at different stages of their relationship w/ the LA Phil (part 2 of 4): Lionel Bringuier and the latest Green Umbrella new music concert

Lionel BringuierThe first time I learned about Lionel Bringuier was in November 2006.  The late great Alan Rich wrote about how the powers-that-be at the Los Angeles Philharmonic at the time — among them, Esa-Pekka Salonen, Deborah Borda, orchestra musicians, and board members — were blown away by Mr. Bringuier and named him Assistant Conductor at the tender age of 20.

In the ensuing years, Mr. Bringuier has not stopped impressing people wherever he has gone.  Locally, he has been promoted twice, first to Associate Conductor, then in 2011, to the newly created position of Resident Conductor.  Further afield, he’s made repeated waves with notable guest gigs on both sides of the Atlantic before making his biggest splash yet a couple of months ago by being named the new Music Director Designate of the Zurich Tonhalle Orchestra.

His international profile and experience may be growing, but Los Angeles has probably had the best chance to watch him grow and develop vs. anywhere else in the world.  We’ve seen him conduct a broad range of repertoire under a variety of conditions:  subscription programs at Walt Disney Concert Hall; Toyota Symphonies for Youth educational concerts; Hollywood Bowl gigs with all of their quirks; and as a last-minute replacement — most memorably in 2010 when he took over conducting the Tchaikovsky Sixth Symphony after Gustavo Dudamel injured his neck mid-concert.  Under all circumstances, he has been unflappable, with interpretations that are interesting and enjoyable.

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Shamelessly enjoying “Carmina Burana” at the Hollywood Bowl

Classical music, like life in general, abounds in so-called guilty pleasures.  You know, the kind of stuff that you may not admit to friends that you like, but in the privacy of your own iPod earbuds, you relish with abandon.  Warsaw Concerto is one for me.  Carmina Burana is another one.  Not a whole lot of people know Warsaw Concerto, but everyone knows Carmina Burana, whether they actually realize that they know it or not.  It is this relative ubiquity that makes “serious” musical fans scoff Scoff SCOFF when Orff’s cantata shows up on programs.

“Spend your time listening to something deeper, more profound.  Like the Mahler Eighth Symphony,” an uber-intellectual friend once told me.

As it turns out, I like to think of Carmina Burana as the Mahler Eighth’s evil twin:  both split their libretto between Latin and Deutsche, both start with a booming chord in the orchestra followed by a grand entrance by the chorus, and both benefit from being done big.  Of course, where the Mahler Eighth is all radiance and redemption, Carmina Burana is decadence and debauchery.  Mahler has the Virgin Mary, Orff has the drunken “Abbot of Cockaigne.”

There is a time and place for both.

Last Thursday was the time, and the stage beneath the oversized white arches of the Hollywood Bowl was the place for the churning, chugging sounds of Orff’s paen to the whims of fortune and the joys of gluttony, drink, and lust.  The performance benefitted from some standout soloists, smooth and energetic ensemble work by the Los Angeles Philharmonic, the Los Angeles Master Chorale, and Los Angeles Children’s Chorus, all managed by the capable hands of Rafael Frühbeck de Burgos.

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Dawn Upshaw leads Ojai Festival 2011

I remember June 1999, the first time I went to Ojai for its annual Music Festival: Esa-Pekka Salonen was festival Music Director that year and was being joined by the Los Angeles Philharmonic and many of his famous friends, including fellow Finns Anssi Kartunnen, Magnus Lindberg, and Olli Mustonen.  While those folks represented many good reasons to go that year, the real draw for me was the chance to see Dawn Upshaw in such an intimate place; add in the fact that she was going to be singing the world premiere of Salonen’s “Five Images After Sappho” and it was a no brainer.

Dawn Upshaw at Ojai Festival 2011

Dawn Upshaw (photo by Brooke Irish for the Ojai Festival website)

Alas, Upshaw ended up requiring emergency back surgery and withdrew from her Ojai dates.  Laura Claycomb stepped in to sing the world premiere, doing an admirable job and making a compelling case for Salonen’s song cycle in her own right.  More importantly, Upshaw eventually recovered and ended up recording the Sappho before going on to resume her successful and noteworthy career.  That said, it would have been good to see her in Ojai.

This weekend, Upshaw returns to the Ojai Festival not just as a performer but as Music Director, plus Ojai is inaugurating their newly renovated Libbey Bowl (whose architect, David Bury, sadly passed away on the eve of the festival’s opening).  Prior commitments kept me from attending this year’s festival, so I’ll have to miss Dawn in Ojai again and live vicariously through the various internet reviews.

Photos from Ojai via Tim Mangan’s blog HERE and HERE.

Christopher Hawthorne’s architectural review in the LA Times HERE

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