It’s a bit sobering to realize that both the Israel Philharmonic Orchestra and its music director for life, Zubin Mehta, have turned, or are about to turn, 60. The benefits to both parties of their long association cannot be denied. Mehta seldom seems more comfortably in his element than when he is standing before these musicians, and they obviously take heartily to his direct and unmannered way of doing things.
That said, it’s a frustratingly uneven orchestra, dependable in the strings, mediocre in the brass, above average in the woodwinds. One listens in vain for the special refinements of tone and style that define the symphonic elite. At least that was this listener’s impression during parts of the concert marking the Israel Philharmonic’s return Wednesday night to Orchestra Hall.
Perhaps we were spoiled by the exceptional qualities of Mehta’s “Ring” cycles last month at Lyric Opera, but his venture into the post-Wagnerian realm of Richard Strauss’ “Don Quixote” just wasn’t exceptional.
In this, arguably the greatest of his tone poems, Strauss conjured “fantastic” variations and it was this element of fantasy that was missing from Mehta’s depictions of the don’s exploits. His view was pitched toward the big moments, rather coarsely so in some episodes. The bleating sheep, for example, sounded like trumpeting elephants. And some unruly brasses in the don’s final battle did not sound wholly intentional.
Strauss always said he preferred the solo parts to be taken by orchestra section principals rather than by guest artists, and Mehta took him at his word. Cello leader Marcel Bergman impersonated the don, violist Yuri Gandelsman his companion, Sancho Panza. The former made a rather plain protagonist, not especially rich of tone or eloquent of expression. The violist proved warmer and more characterful.
Beethoven’s Seventh Symphony lifted the program beyond the perfunctory. Mehta proved that clarity of articulation within well-chosen tempos can yield plenty of rhythmic drive, especially when there is a strong sense of line. He was attentive about repeats, observing all such markings in the Scherzo and Trio. Balances were nicely judged, with the placement of the violas on the outside lending extra prominence to their harmonic function. In the finale the Israeli strings were resilient rather than merely dogged in their rhythmic reiterations. The overall effect was one of tremendous orchestral power held under admirably taut control.
The audience erupted with pleasure, bringing Mehta back to lead two Dvorak “Slavonic Dances” as encores. For the second encore, the conductor kept his arms down at his sides, leaving his musicians to their own capable devices. Two large red banners were unfurled from the side bays of organ pipes, bearing the greeting “Happy Birthday, Zubin Mehta.” Even though the actual event doesn’t come until April 29, nobody, least of all the beaming guest of honor, seemed to care.
