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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NEWSFLASH: CKDH actually manages to enjoy some Brahms, care of Fima Bronfman, Lionel Bringuier, and the LA Phil

I have more than a few things to say about last Tuesday’s Los Angeles Philharmonic concert at the Hollywood Bowl, as usual.  But let’s get one thing out of the way, shall we?

Yefim Bronfman is a bad-ass.

Ok, perhaps this is old news, but even if that’s the case, it’s worth repeating.

So many reasons why this is true, not least of which because he happened to break his finger in the midst of playing the Prokofiev Sonata No. 8 last year — and still managed to play through the pain and finish the concert (read Rick Schultz’s very nice interview with him HERE where he discusses his broken finger and subsequent recovery).

Broken finger or not, Mr. Bronfman (AKA “Fima”) never ceases to amaze with his combination of refined taste, superior musicality, impeccable technique, and ferocious power that he wields like an AC-130 gunship — staying in the background until called for, at which time thunder is unleashed and woe be to those who dare get in the way.

To use another analogy, he treats piano works like Walter Payton treated defenders:  as appropriate, he can speed around them, he can pound right through them, or he can bob and weave his way through a thicket of obstructions — always making the right choice for the moment, and always with grace and class and dignity.

All of that is true on any given night, but last Tuesday, he managed to pull off something rather remarkable:  he managed to get me to truly enjoy a major work by Brahms.

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News about many conductors; a comment about a critic, a pianist, and a dress

Jeffrey Kahane, Lionel Bringuier, Jorge Mester, and Grant Gershon

I am still trying to piece together the data for the next installment of my analysis of Gustavo Dudamel’s penchant for new music (as promised in my previous post); however, these things take time and the day job keeps getting in the way.  In the meantime, it seems like every time you turned around recently, there was news about one local conductor or another, a bit of unfortunate conductor news out of NY, and a really unfortunate set of comments about a particularly tiny dress:

First, the bad news:  The New York Times reported that George Manahan, Music Director of the New York City Opera (NYCO) since 1996, will lose his job.  In fact, NYCO is abolishing the position of Music Director entirely.  Another sad and unfortunate result of NYCO’s fiscal and artistic woes.

Now that that’s taken care of . . .

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