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A grand finale for the Oundjian era
Toronto
Roy Thomson Hall
28/06/2018 – & 29 June * 30 June 2018
Ludwig van Beethoven: Symphony No. 9 in D minor, op. 125 "Choral"
Kirsten MscKinnon (soprano), Lauren Segal (mezzo-soprano), Andrew Haji (tenor), Tyler Duncan (baritone)
Toronto Mendelssohn Choir, Jen Min-Young Lee (choral conductor), The Toronto Symphony Orchestra, Peter Oundjian (Conductor)
P. Oundjian (Nick Wons)
Two critics on this site serve to illustrate what Peter Oundjian accomplished in his 14 years as music director of the TSO. This one from a 2008 recording The Rite of Spring and one from a live (and vivid) performance in 2016 of the same work. The first performance shows a musician who clearly and infallibly presents the structure of a work with each note in its place. (This sounds like low praise, but you can not take it for granted.) Eight years later, he and his ensemble have moved to a different level where risks are not only tempted, but triumphantly overcome. This type of change takes time.
It is not only that more than half of the musicians of the orchestras have been replaced during his stay here. The normal process of retiring or traveling players caused this, and the usual control of the candidates from the large group of talented musicians from music schools guaranteed a high level of expertise. Oundjian's is imposed personally in the choice of the main actors, the solo violin Jonathan Crow, a notable example. But his main achievement is that he has created a strong and responsive team that can tackle the diversity of music desired by the fractured symphonic audience.
A truly wonderful success was the orchestral approach of Mozart, despite the presence of The City of an orchestra of the time, Tafelmusik Baroque Orchestra, with a great season in itself. Guest conductor Bernard Labadie contributed, but we also heard distinguished interpreters from guest conductors such as Matthias Pintscher. The annual Mozart Festival (a January 14-year rendezvous) has disappeared, but Mozart, Haydn and their peers are springing up throughout the season and we can expect this specialty to continue.
Festival. I remember when new plays were performed in a smaller venue (a kind of ghettoisation), but Peter Oundjian convinced the direction to give them more exposure on stage. The results were mixed (as usual with new work), but an actively involved audience emerged. (And Toronto has other presenters specializing in contemporary works, such as the Spirit Orchestra). The regular seasons will continue to be dotted with orders and new works from elsewhere.
The Decades project, which has unfortunately left out a series of ten five-year concert series, has been devoted entirely to the music of each decade of the 20th century. He did not spend the 1930s; the prospect of selling tickets for series devoted to more recent decades was obviously discouraging. (Toronto is not unique in this regard.) Recent changes in management (the details of which are too tedious to relate) may well be a factor.
During the last two months of the Oundjian era, local symphonists were treated to a series of major works given what I can only describe as festival-quality performances. Anton Bruckners Symphony No. 8 and Gustav Mahlers Symphony No. 9 were two stars, each presenting a confident and well-structured performance (with full rooms). A Russian evening featuring Rachmaninov's Piano Concerto No. 3 with Daniil Trifonov was another gala occasion, as well as a Shakespeare-inspired music night with a narrative by Christopher Plummer.
The grand finale of Maestro Oundjians was a series of three performances of Beethovens Choral Symphony with a vigorous yet sensitive reading, with first notes seeming to melt out of the air. The second movement was energetic and cheerful, finely controlled. The slow movement was also punctuated by his own reverie. The final movement started abruptly but the first following statement from the Ode to Joy theme was very quiet, giving it plenty of room to build. It was nice to have a group of Canadian soloists, although the unfortunate tenor was poorly done. The large choir (about 120 members) sat on risers on the platform rather than higher in the choir, an arrangement that leads to tighter control. Work is guaranteed to attract a complete audience; they left happy again
What about a successor? Sir Andrew Davis, musical director from 1975 to 1988 and conductor since, will be in charge for two years while the research continues. (He also intervened after the departure of Jukka-Pekka Saraste before the appointment of Oundjians.) Several orchestras have been or are looking for new conductors. Rumor has it that one or more possible choices faded away when admired guest conductors took on other duties – Gianandrea Noseda in Washington and Thomas Dausgaard in Seattle come to my mind. James Gaffigan is mentioned (he appears on many lists), and Donald Runnicles impressed by appearing here. The orchestra is evolving very well and Peter Oundjian is leaving him in good shape. Hopefully the recent changes in orchestra management ushered in a period of administrative stability to support its continued development under a new orchestra leader
Michael Johnson
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