Conductor: Marin Alsop
Leila Josefowicz: Violin
Last Friday, March 8, 2019, was International Women’s Day, and the following evening, as if to prove the importance of women in a field where there are still way too few of them, two mighty woman musical forces asserted their power on the stage of the Strathmore Music Center in Bethesda, MD. I had gone down to the D.C. area for a long-overdue visit to my old friend Vittorio, but truth be told, that visit had been prompted by much more than just a nostalgic trip down memory lane.
I had also been drawn by the juicy prospect of hearing the consistency reliable Baltimore Symphony Orchestra conducted by their indefatigable music director, Marin Alsop, in a program consisting of two versions of the legend of Scheherazade. There would be Nikolai Rimsky-Korsakov’s ever-popular classical symphonic suite, and before that, John Adams’ thoroughly modern (and unabashedly feminist) take on it, which was coming in with the totally unfair advantage of featuring fellow New Yorker and fearless violinist Leila Josefowicz, the dedicatee of the composition and, as far as I know, its only interpreter so far.
I had had the pleasure of discovering Scheherazade.2 with the New York Philharmonic and Alan Gilbert in New York at its world premiere back in 2015, and then of hearing it again with the Berlin Philharmonic and John Adams in Berlin a couple of years later, so the time had definitely come for another full immersion in it.
Therefore, after a busy day that started ominously with a frustrating traffic jam caused by the Rock’n’Roll D.C. Marathon, of all things, but improved tremendously with a very successful visit to the National Gallery of Art and a very satisfying home-cooked dinner, we were more than ready to be transported into the magical world of One Thousand and One Nights.
Being John Adams’ official muse cannot be an easy job, but then again, there’s not much, if anything, that consummate virtuoso Leila Josefowicz cannot handle, including starring as the modern enchantress standing up to a patriarchal society in his expansive Scheherazade.2. As in Rimsky-Korsakov’s work, Adams’ 20th-century heroine is represented by the solo violin fighting the powerful forces of the orchestra throughout four vignettes, and still she rises again and again.
On Saturday evening, this Scheherazade’s resilience came through in spades in Adams’ wildly eclectic score and Josefowicz’s dazzling performance of it, easily shifting from the sheer beauty of the tender love scene to the climatic violence of her fierce fight against the men with beards, always remaining in full control. She did not have much time to regroup during the 45 action-packed minutes, yet she resolutely soldiered on all the way to her understated escape and alleged happy end.
After intermission, we happily traveled back in time as Rimsky-Korsakov’s 19th-century epic Scheherazade sounded just as good as ever, its deliciously beguiling melodies working their timeless magic on the audience just as Scheherazade’s spellbinding stories did on the ill-intentioned Sultan she had just married (Oops!). But then again, there’s a lot of pressure to be at the top of your game when your life is at stake.
The highly refined, sinuously sensual solo violin parts were expertly played by the orchestra’s long-time concertmaster Jonathan Carney, who confidently mustered the seductive power of the young bride, while the orchestra delivered a performance that was as beautifully shaped, intensely colorful and mysteriously exotic as the Arabic collection of tales itself. We certainly can never have too many enchanted evenings of women’s empowerment like this.
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