The Venezuelan administrator Alberto Arvelo, who became a aing acquaintance of Dudamel’s while filming a 2006 documentary about El Sistema, remembers giving Dudamel a archetype of the account for the film, music he had never apparent before. Dudamel apprehend it as if it were a poem, axis the pages, animated at the blessed parts, attractive sad aback the affection darkened.
“I mean, I can apprehend music,” Arvelo says. “But for me, it’s complicated. It’s like, well, you know, you accept to sit there, and again O.K., this is A, C, B, O.K., whatever. But he was audition it. And again I accepted that I was in advanced of addition who was absolutely bedevilled by music. He belongs to music added than to himself in some ways.”
Those are some of the actual apparatus of administering talent, or at any amount some of the semitangible components, the genitalia you can at atomic activate to explain. Combine them, and you can alpha to trace a conductor’s agreeable personality, the reason, say, Wilhelm Furtwängler’s grand, awkward Beethoven sounds annihilation like John Eliot Gardiner’s fleet, ablaze Beethoven, or why Dudamel’s high-energy readings of Schubert are so altered from Bruno Walter’s balmy and accommodating ones.
More abstruse is the allowance of communication. How do you put beyond your compassionate of a agreeable assignment to the accession of musicians whose achievement of it will conductor it into existence? Musicians who assignment with Dudamel tend to say that what sets him afar from added conductors isn’t annihilation admirable or obvious; it’s an accession of baby moments. How he speaks to them. How he listens to them.
And again comes the best abstruse aspect of all: the authority over an audience. The ability to move. Not anybody gets that, amid those to whom the blow is given. Many don’t. Aback Dudamel was in his 20s, he toured the apple with the Simón Bolívar Symphony Orra, a accession of the best musicians in all of El Sistema. The concert would be acceptable — Beethoven, Brahms, Tchaikovsky, core-canon stuff. Again the lights would go down. Aback they came aback up for the encore, the musicians would be cutting agleam clue jackets blooming afterwards the Venezuelan flag. Dudamel wore one, too. The drums started. It was a mambo! Trumpeters stood up, horns aimed at the ceiling. Bassists twirled their basses. Dudamel danced at the podium. Maybe this sounds broken-down or alike cynical. You could accomplish a case that the Bolívars were arena to all-embracing expectations for how a Latin American symphony should act. You could accomplish a not-unrelated case that they were confined as bendable advertising for Hugo Chávez at a time aback his colectivos were killing protesters in the streets. What couldn’t be denied is that audiences admired it.
A few weeks afterwards the “Ode to Joy” in London, Dudamel leaned aback on his stool at the Disney Concert Hall in Los Angeles, afflictive bottomward at the orra. Rehearsal was activity badly. He was cerebration about Rousseau.
It was the end of May, the end of the season. On Friday night, the Phil would activate its final run of performances afore affective for the summer from the Disney Hall (indoors, posh) to the Hollywood Bowl (outdoors, Sting plays there, you can eat a Snickers in your seat). For the afterpiece of the orra’s 99th season, about the countdown to this year’s bazaar extravaganza, Dudamel was putting on “Das Paradies und die Peri,” Schumann’s gigantic concert oratorio: about two hours long, acclaimed singers in affecting roles, a huge chorus, ballyhoo climaxes, tunes for days. The argument tells the adventure of a Peri, a affectionate of benevolent collapsed angel, who can accretion acceptance to heaven alone by bringing the able allowance to the gates of paradise. She tries three times, in escalatingly romantic-allegorical ways, and it’s the third gift, the aftermost breach of a blackmailer who repented on his deathbed, that causes the gates to open. The Peri enters heaven, to cloudbursts and hosannas.
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