Dutoit is a regular guest conductor with the Boston Symphony, and he was clearly as comfortable with the musicians as they were with him. He showed a dancing familiarity with the first work, Mozart's Symphony No. 38, 'Prague'. Dutoit lavished much of his phrase shaping on the violins, and they responded with delicate precision. This convincing performance made me a fan of the composition.
I don't associate Charles Dutoit with Mahler, but Symphony No. 5 was obviously in the conductor's back pocket. He had a clear vision of what he wanted to do with the work, and the opening trumpet call and the answering orchestral chord gave notice that the band was right there with him.
In Gustav Mahler's music there are usually three things going on at the same time -- often more. The initial movement tonight was slower than I am used to hearing, but it was not lacking in intensity. As proof, the french horn features of the second movement blazed. While Dutoit missed the sweep of other readings, he allowed the audience to savor the details of the score.
The central Scherzo waltzed along in a more expected manner, and Dutoit actually pushed the Adagietto a bit. He resisted the temptation to luxuriate in the lushness of the strings and solo harp, which produced a more poignant effect.
The Finale whirred along in kaleidoscopic counterpoint, and after the closing bar there was an instantaneous and vigorous standing ovation. Before the conductor left the stage he shook hands with each of the brass players and led the principal trumpet and principal horn to the podium to the roars of the audience. When Dutoit returned to the stage there was a kiss on each cheek for the harpist.
The BSO will soon embark on a concert tour of China and Japan, with maestro Dutoit again taking over for Maazel. From what I heard tonight, the orchestra couldn't be in better hands.
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