Opole is a city of 126,000 in the mineral rich Polish district of Silesia. Founded near the end of the 9th century on an island in the Oder, it is today an important cultural center. The Opole Philharmonic Of Poland was founded in 1947 and has toured extensively abroad, appearing in France, Holland, Switzerland, the United Kingdom, South America, Hungary, Japan and most recently, Italy and Germany where the Philharmonic performed music of contemporary Polish composers to great critical and popular acclaim. Since 1960, the Orchestra has participated regularly in prestigious Polish cultural events such as the Festival of Contemporary Music in Wroclaw, the Chopin Festival in Duszniki, the Moniuszko Festival in Kudowa-Zdrój, Poznan Musical Spring, and the International Festival of Oratorio and Cantata Music in Wroclaw. Now on its first American tour under the Direction of Maestro Dawidow, music director since 1999, the orchestra visited Mechanics Hall on Feb. 16. Appearing with the orchestra in Chopin’s Concerto for Piano and Orchestra, No. 1 in E minor, Op. 11, was Evegeny Mikhailov, a native of Izhevsk, Russia.
The program opened with a spirited performance, by large orchestra on modern instruments, of the overture to Mozart’s Singspiel Masonic allegory Die Zauberfloete (The Magic Flute). However one feels about the sanctity of period performance practices, their rigid enforcement would deprive modern symphony orchestras (and their audiences) of large chunks of great music. The heavily orchestrated overture suggests that, had it been available to him, Mozart would cheerfully have employed the large forces available today.The orchestra displayed attractive string tone, a bit thin in the violins (at least where I was seated), but lush and weighty in the lowers strings. Brass was suitably portentous without resorting to harshness. Tempo was moderate, avoiding the lugubriousness that sometimes detracts from the essential liveliness of the piece.
There followed a performance of Chopin’s Concerto for Piano and Orchestra, No. 1, in e minor, Op. 11. Composed in 1830 and premiered to great acclaim in Warsaw in October of that year with the composer as soloist.. Mr. Mikhailov favored a light handed and meticulously articulated reading producing a clear and limpid tone with an attractive range of color. A sensitive, poetic performance eschewing virtuosic display.
The program closed with Beethoven’s Sym. No. 3 in E flat major, Op. 55, the “Eroica” Completed in August of 1804 and received its first performance in April 1805. The piece is widely regarded as the first full fruition of the transition from the Classical to the Romantic style which would come to dominate the 19th century. Nearly twice as long as any previous symphony, its reception was less than entirely favorable. After the premiere performance a Viennese critic remarked: “[I] confess to finding in this work too much that is lurid and bizarre.” Even today, its turbulence and passion can provoke a powerful emotional response in audiences.
Davidow’s conception of the piece tended toward understatement and was a bit lacking in emotional intensity though very well played. The performance overall had a somewhat restrained feel which limited the impact and was particularly noticed in the rather tame conclusion of the final movement; where Beethoven blazes triumphantly this reading glowed warmly but left the hair on the back of my neck ;lying peacefully. The Opole Philharmonic is a first class orchestra. One hopes that this American tour will bring it the well-deserved recognition of U. S. audiences.
operamane 