Mostly Mozart's 2012 opening features starry special guests.
by Paul J. Pelkonen
The Mostly Mozart Festival is Lincoln Center's oldest summer event, bringing patrons into the cool confines of Avery Fisher Hall since 1966. This year's kickoff concert attempted to recreate the feel of an old-fashioned Viennese concert program, where listeners might hear a smorgasbord of musical styles: opera arias and overtures, a symphony and maybe a concerto, presented in whatever order seemed most entertaining and sensible.
The August 1 concert began at the end of Mozart's oeuvre with the overture to La Clemenza di Tito, his hastily written opera seria dashed off to accompany the coronation of Austrian emperor Leopold II. Louis Langrée, who is beginning his tenth year as the Festival's music director, led a robust performance of this underrated work. The overture featured rich brass playing and brisk, energetic strings from the Mostly Mozart Festival Orchestra.
The Piano Concerto No. 20 was next. Brazilian pianist Nelson Freire took the solo part in this, one of Mozart's most Romantic creations for keyboard and orchestra. Whereas most piano concertos of this period have soloist and conductor working in harmonious accord, Mozart's work places the lone instrument in opposition to stormy chords from the orchestra. Mr. Freire engaged in friendly combat with Mr. Langrée, soloing with liquid grace against the accompaniment, which is similar in style and tone to certain pages of Don Giovanni.
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| Mostly Mozart opens with an appearance by tenor Lawrence Brownlee. |
The Mostly Mozart Festival is Lincoln Center's oldest summer event, bringing patrons into the cool confines of Avery Fisher Hall since 1966. This year's kickoff concert attempted to recreate the feel of an old-fashioned Viennese concert program, where listeners might hear a smorgasbord of musical styles: opera arias and overtures, a symphony and maybe a concerto, presented in whatever order seemed most entertaining and sensible.
The August 1 concert began at the end of Mozart's oeuvre with the overture to La Clemenza di Tito, his hastily written opera seria dashed off to accompany the coronation of Austrian emperor Leopold II. Louis Langrée, who is beginning his tenth year as the Festival's music director, led a robust performance of this underrated work. The overture featured rich brass playing and brisk, energetic strings from the Mostly Mozart Festival Orchestra.
The Piano Concerto No. 20 was next. Brazilian pianist Nelson Freire took the solo part in this, one of Mozart's most Romantic creations for keyboard and orchestra. Whereas most piano concertos of this period have soloist and conductor working in harmonious accord, Mozart's work places the lone instrument in opposition to stormy chords from the orchestra. Mr. Freire engaged in friendly combat with Mr. Langrée, soloing with liquid grace against the accompaniment, which is similar in style and tone to certain pages of Don Giovanni.
