The Mumbai Concerts (Mehta)
View record and artist detailsRecord and Artist Details
Composer or Director: Ludwig van Beethoven, Johann Strauss II, Pyotr Ilyich Tchaikovsky, Maurice Ravel, Johannes Brahms, Antonín Dvořák
Genre:
Orchestral
Label: Accentus
Magazine Review Date: 01/2019
Media Format: Digital Versatile Disc
Media Runtime: 190
Mastering:
DDD
Catalogue Number: ACC20383
Tracks:
Composition | Artist Credit |
---|---|
Carnival |
Antonín Dvořák, Composer
Antonín Dvořák, Composer Israel Philharmonic Orchestra Zubin Mehta, Conductor |
Concerto for Violin and Orchestra |
Ludwig van Beethoven, Composer
Israel Philharmonic Orchestra Ludwig van Beethoven, Composer Pinchas Zukerman, Violin Zubin Mehta, Conductor |
(La) Valse |
Maurice Ravel, Composer
Israel Philharmonic Orchestra Maurice Ravel, Composer Zubin Mehta, Conductor |
Daphnis et Chloé Suites, Movement: Suite No. 2 |
Maurice Ravel, Composer
Israel Philharmonic Orchestra Maurice Ravel, Composer Zubin Mehta, Conductor |
(Die) Fledermaus, '(The) Bat', Movement: Overture |
Johann Strauss II, Composer
Israel Philharmonic Orchestra Johann Strauss II, Composer Zubin Mehta, Conductor |
Concerto for Violin, Cello and Orchestra |
Johannes Brahms, Composer
Amanda Forsythe, Cello Israel Philharmonic Orchestra Johannes Brahms, Composer Pinchas Zukerman, Violin Zubin Mehta, Conductor |
Concerto for Piano and Orchestra No. 1 |
Pyotr Ilyich Tchaikovsky, Composer
Denis Matsuev, Piano Israel Philharmonic Orchestra Pyotr Ilyich Tchaikovsky, Composer Zubin Mehta, Conductor |
Author: Mark Pullinger
There’s a palpable sense of occasion. Mehta is adored in Mumbai and the city turned out in its colourful finery for both concerts. Conductor, soloists and the entire orchestra are bedecked with garlands, fitting for such a celebration. Both programmes are a little odd: Beethoven’s Violin Concerto followed by a couple of Ravel warhorses; then Brahms’s Double paired with Tchaikovsky’s First Piano Concerto, which is possibly one concerto too many.
Mehta is an old-school conductor and the playing here has plenty of the grand manner about it – a plush string sound and unhurried tempos, the equivalent of snuggling down into a leather armchair. The problem is that the performances sound too comfortable, too safe. Dvořák’s Carnival overture has never sounded less festive, the overture to Strauss’s Fledermaus more stolid. In two of the concertos, Mehta is joined by longstanding friend and collaborator Pinchas Zukerman. His Beethoven is rich and muscular, technically superb, but there’s little revolutionary fire here. The Brahms Double, with the American cellist Amanda Forsyth, suits this approach a little better; the central Andante contains some lovely playing, glowing with warmth. Denis Matsuev thumps his way through Tchaikovsky – an impressive enough feat but I’ve heard him play it with much more personality.
The two Ravel items come off best: La valse has a certain fin de siècle grandeur and the Second Suite from Daphnis et Chloé features a gorgeous sunrise and a pulpy flute solo in the Pantomime.
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