Review: The NY Philharmonic & Yefim Bronfman in Mozart and Bruckner at Geffen Hall

This reviewer's first trip to the new Geffen theater - which impressively opened a full two years ahead of its original schedule, must touch a little bit on the theater itself (scroll through the next few paragraphs to read about the performance.

The theater looks virtually the same from the plaza but could not be more different once you enter the doors. The once, bright and tight lobby has been replaced buy a spacious lounge - reminiscent of a high-class modern hotel (or some modern airports). There is a gigantic video wall against the back of the lobby where the ticket windows used to be. There is a bar in the lobby and a very darkly lit restaurant on the west end of the lobby with a separate entrance. It is certainly different and more roomy than the old lobby (and much less chaotic), but it doesn't exactly feel like a theater. It will probably just take a little getting used to (a phrase you will hear often in this review.)

The auditorium, now called the Wu Tsai Theatre, bears virtually no resemblance to the old yellowish, goldish, mustardish space. The walls are beautifully finished light beech wood, making the space appear much larger than its actually diminished space with 500 fewer seats. The seats have an interesting pink and blue floral pattern and are much more comfortable than the old seats.

Upon entering it seemed like the entire audience had their phones out snapping pictures of the new space - the banter was almost uniformly positive. All in all, it is a vastly more attractive space than the old one. Some folks even shed tears as they gazed around.

The removal of 500 seats, the moving of the stage 25 feet forward, and the addition of the rear seating terrace, have completely improved audience sight lines from every corner of the auditorium.

The lighting of the stage appeared much brighter and whiter then the previous lighting. Perhaps LED lighting or halogen (daylight type) bulbs have been installed replacing the old incandescent blubs? Either way, it definitely gave the stage a cooler appearance on the Kelvin scale than the old hall. That will take a bit of getting used to.

The concert was not quite sold out - a disappointment this early in the season and considering the calibre of the soloist and the program. Novelist Phillip Roth once said of pianist Yefim Bronfman, that he looked more like a piano mover than a piano player. His large physical stature did not in any way impede his technical brilliance in the delightful Mozart 22nd Piano concerto.

The piano itself sounded a bit removed from the overall mix - appearing to have more reverberation than the rest of the orchestra, an odd phenomenon, making for a blend that occasionally caused some knit brows in the audience. The E-flat concerto's lovely magisterial opening was crisp, clear and regal. Maestro Bronfman matched their sunny playing with his own stately playing. Interestingly some small intonation issues in the brass and the woodwinds seemed much more exposed in the new hall than one might expect. And therein lies the whole challenge of the new space: it appears that ALL the instruments are heard more clearly, loudly and defined, which will be an on-going challenge especially to visiting maestros.

In the second movement, the orchestra and soloist found a much tighter sympatico and Bronfman displayed his usual effortless mastery of the long, circular runs. The third movement was another story. Maestro Jaap took an unusually brisk pace, diluting the drama of the movement and giving the effect that he wanted to get it over with.

After a brief intermission the orchestra returns and the lights in the hall dimmed - but not to the same level as during the concerto. It was visibly brighter for some reason.

Bruckner's Seventh is probably his most popular symphony with the possible exception of the fourth. And just like all of Bruckner's symphonies it took a long time to become a part of the basic repertoire; owning to its length and orchestration. The quite drama of the opening tremolo grows out of the distance and unfolds majestically. Bruckner said it came to him in a dream and that's easily understandable.

Jaap brought great power and passion to the first movement, stressing the large, massed brass chorales to great effect. The new hall (and presumably Mr. Jaap) also brought to the forefront all kinds of colors and textures not often heard in the work - particularly in the lower woodwinds and the double basses. The ending of the movement was extremely clear, crisp and tight, with the entire orchestra cutting out in spectacular unison. However, something was missing - reverberation. In fact several times when the orchestra had sharp climaxes, the dryness of the hall seemed extremely apparent - there didn't seem to be any reverberation at all (at least from Row V in the orchestra) and it felt just a little unnatural.

The second movement, the much-celebrated adagio was more problematic. Right out of the gate, the brass overpowered the strings. In fact, I saw the strings playing in the first three bars but really did not hear them. The majestic string theme that follows the opening was powerful and appropriately dramatic. It was followed by some questionable intonations in the brass again. The magical blend of horns and strings in the movement never really caught fire.

The scherzo was a delight. This was a moment where the over-exposure of the woodwinds really paid off. However, the big crash at the end of the first part of the movement (just prior to the trio) was huge and powerful --- and again, seemingly without any reverberation. And again, it felt strange. This hall is going to take some getting used to.

The final movement was where all the pieces came together. Speaking as an amateur clarinetist, it was wonderful to hear the clarinet and flute parts really cut through the mix, adding a lyrical intimacy not often heard in the 7th's final movement. The coda of the piece requires enormous dynamic control and delicacy to create a mystical aural blend. Maestro Jaap, while delivering an extremely transparent climax, leaned on the volume to such an extent that, while quite thrilling, the result was not quite as powerful and passionate as it was simply loud. (Need I say it again... this hall is going to take some getting used to.)

One would suspect that Maestro Jaap and orchestra will evolve into a fine-tuned, cordial and congenial symbiosis with their new hall. The thrilling moments certainly outnumbered (and outweighed) the intonation and balance issues and made the concert completely enjoyable and worthwhile. Here's to a great great season for Maestro Jaap and his forces!

Peter Danish

To post a comment, you must register and login.