I love Mahler symphonies, but I must say that the Symphony #9 has not been one of my favorites. This is the first time I’ve heard the Ninth live, and now I know why it hasn’t been high on my favorite Mahler. Particularly in the final movement - Mahler’s final movement of his final symphony before he passed on - has some incredibly soft passages. These do not come off as well on a recording as they do in a live concert hall. The orchestra’s sensitive playing, particularly in the final movement resulted in a rather awkward Bravo! from an enthusiastic audience member at the conclusion. I agree, the performance was quite special. And I have a much deeper appreciation for Mahler’s final symphony.

I’ve seen the orchestra several times this year, most often under conductors other than Musical Director Alan Gilbert. New York audiences do love their orchestra and its music director, Mr. Gilbert. This appreciation is evidenced by rousing applause, particularly when Mr. Gilbert takes the stage. In his third year (and my third year as a subscriber), Mr. Gilbert has certainly done some nice work with the orchestra. I’m looking forward to my next visit!

Alan Gilbert on Thomas Ades

Alan Gilbert on Mahler Symphony No. 9

I must say I do enjoy revisiting a good show. There are so many angles to approach the show - music, book, production values, etc. Favorites for me: Performances by Elaine Paige (I’m Still Here), Terri White (Who’s That Woman) and Jayne Houdyshell (Broadway Baby). I also love the Jonathan Tunick orchestrations.

I signed up for a two day trial and am enjoying a Simon Rattle program of Janacek and Mahler. The quality is quite excellent - audio and video. I’ll have to do some more listening before I decide whether this is money well-spent. I think it is just a matter of time before more arts organizations, looking to expand their base, start to offer more alternatives like the Digital Concert Hall. I’m glad the technology is good enough to offer such opportunities.

There is also a podcast available in iTunes: War Horse puppet demonstration and Interview.

While I enjoyed being there for the live performance and actually able to see more than I would see in my normal Family Circle perch, I was somewhat disappointed since the two principals (Jonas Kaufmann and Marina Poplavskaya) were out that evening. Rene Pape was working as the Devel. The replacements, while certainly quality, seemed dim in comparison to the incredible singing I heard the previous weekend. That being said, one of the most exciting aspects of being present at the Met for a performance (and in the orchestra) is hearing the Met orchestra.

I’ll look forward to seeing Madame Butterfly later this week. From the Family Circle. 

I have never seen this particular opera or even heard any music by the composer, Charles Gounod. I found the score very accessible, with many beautiful arias and a big chorus. The singing was magnificent. The three principals - Jonas Kaufmann as Faust, René Pape as the devil, and Marina Poplavskaya as Marguerite - have tremendous voices as well as acting ability. While I enjoy attending live performances at the Met, it is very nice to see faces, costumes and sets up close in the HD productions. That’s something that you lose sitting in the Family Circle of the cavernous Metropolitan Opera House! Another plus to the HD productions is the interviews during intermissions. All three principals were interviewed across the two intermissions. It’s interesting to hear each actor speak about their interpretation while seeing the set changes occur in the background. I definitely recommend attending the HD productions as well as getting to the opera house occasionally. There has been criticism about the Met’s move to movie theaters. I think it has done a lot to make opera more accessibly to the masses.

You can see excerpts from Faust on YouTube:

I’m looking forward to seeing Madame Butterfly at the Met later this month as well as the repeat of Philip Glass’ Satyagraha and the new Baroque pastiche, The Enchanted Island in HD.

North Point’s iBand from North Point Web on Vimeo.

You can read about the apps they used for each of the instruments on this blog post: iBand Rocks Christmas Tunes on iPads and iPhones.

Marina Poplavskaya in an excerpt from Des McAnuff’s new production of Gounod’s “Faust” at the Met Opera.