[Originally published by the Toronto Star]
★★★ (out of four)
Toronto Symphony Orchestra with Leila Josefowicz (violin), Peter Oundjian (conductor) at Roy Thomson Hall, Wednesday, May 4. (Repeats May 5)
With a nod to Rimsky-Korsakov’s “Scheherazade,” John Adams’ updated version of The Arabian Nights tale made its Canadian premiere at Roy Thomson Hall, with the spit-fire violinist Leila Josefowicz leading the way forward.
Adams took a card from Berlioz and described the 50-minute epic as “dramatic symphony”. According to Adams’ own program notes, the inspiration for “Scheherazade.2” came from a recent exhibition at the Institute du Monde Arabe in Paris, which outlines the evolution of the story based on a woman who avoids execution from her homicidal husband by entertaining him with stories every night.
“Scheherazade.2” is essentially a statement about the strength of women everywhere. Adams doesn’t spend much time on self-pity, mind you. The protagonist, signified by Josefowicz, is defiantly intelligent, and full of a tenacious resolve against her oppressor symbolized in the concerto form.
The politics are chilling, but while Adams admits this isn’t a political piece. The titles of each movement speak for themselves: Tale of the Wise Young Woman – Pursuit by the True Believers; A Long Desire (Love Scene); Scheherazade and the Men with Beards; Escape, Flight, Sanctuary.
Adams has found the ideal feminist in violinist Josefowicz, who musters the spirit to live one more night with her murderous husband. She is literally playing for her life, and play she does.
Josefowicz’s technique is athletic and tempered against Adams’ signature orchestration. Instrumentation included hammered dulcimer and 22 gongs, which were hung like wind chimes from a bygone era.
Unfortunately, the audience’s reception was shockingly apathetic. Patrons were seen headed for the doors at the first chance they got. By the end, only about 85% of the audience remained.
The usual suspects on the first half of the program were likely the driver. Beethoven’s “Overture to Egmont” and Brahms’ Symphony No. 4 typically attract a more musically conservative crowd who may have seen the Adams too much to bear — but as the premise of the piece dictates, it probably was for some.
The opening Beethoven was performed with a 19th-century arrangement of the first and second violins, split into opposite sides of the stage. Ably played, it suffered from an overly loud brass section that obstructed the historically correct yet much-debated arrangement of the strings. The strings themselves seemed stripped of their usual strength.
The Brahms faired better, but Oundjian took in at a hurried pace, which made it sound much less moody. The build-up towards the trombones in the finale, however, was bold and strongly felt.
As the TSO tour to Ottawa and Montreal this weekend, it will be interesting to hear what other critics think about this unusual program of rebel-fueled music.
#LUDWIGVAN
Want more updates on Toronto-centric classical music news and review before anyone else finds out? Get our exclusive newsletter here and follow us on Facebook for all the latest.
- THE SCOOP | Royal Conservatory’s Dr. Peter Simon Awarded The Order Of Ontario - January 2, 2024
- THE SCOOP | Order of Canada Appointees Announced, Including Big Names From The Arts - December 29, 2023
- Ludwig Van Is Being Acquired By ZoomerMedia - June 12, 2023
