with its new music director in his first Boston appearance, the Russian-Jewish artistic director and chief conductor Kirill Petrenko, the Berlin Phil’s first Jewish music director in its distinguished and complicated 140-year history.
The Los Angeles Philharmonic is in wonderful shape right now and plays with a comparable brilliance if not an equal depth. Like the Berliners, these players are impressively flexible, giving Dudamel everything he asks for from moment to moment. And Dudamel too seems to be inhabited by the music.
At the end of the concert, Dudamel gave us a hilarious encore, Johann Strauss Jr.’s famous “Tritsch-Tratsch Polka” in a new arrangement by Venezuelan composer Paul Desenne called “Triqui Traqui,” in which the Austrian polka kept veering off into a Latin-American jota. Ticket prices for these concerts ranged from being free for some students and community members to an expensive high of $180. Dudamel and Mahler are well-known and popular commodities. But the Berlin Philharmonic program was decidedly not oriented for box-office appeal: a relatively little known contemporary piece; a minor Mozart concerto, and Erich Wolfgang Korngold’s rarely heard Symphony in F-sharp Major , for which Berlin’s new music director happens to be a major advocate.
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