Review: ‘Noisy and pastoral love vie in mixed Philharmonic program’

Brett Mitchell conducts the New York Philharmonic. © Brandon Patoc

NEW YORK — New York Classical Review has published a review of Brett Mitchell’s recent subscription debut with the New York Philharmonic:

Complete scores of ballets can flag in concert without dancers to sustain interest, but the hour-long performance of Daphnis et Chloé had no such problem Friday night. One could try to picture in one’s mind the ballet’s wacky scenario involving religious rites, shepherdesses and pirates, or one could just sit back and appreciate Ravel’s mastery of orchestral color and atmosphere. Ravel extracted two suites from this score, the second of which has become a familiar concert item, but it turns out the material in between the excerpts is almost as interesting.

Conductor [Brett] Mitchell smoothly managed Ravel’s constant tempo changes, ushering in stately processions, infectious dances, languid wooing, sudden battles, and ecstatic revelry by rapid turns. (The list of tempo markings alone occupied an entire page of the Philharmonic program.)

The wordless singing of the New York Philharmonic Chorus, directed by Malcolm J. Merriweather, put a human presence in the scene, whether cooing over the lovers or shouting for joy in the work’s closing revels.

Wind soloists and concertmaster Frank Huang had their eloquent say in the score’s quieter moments. Ripping arpeggios and tinkling nature sounds were contributed by harpist Nancy Allen, who was recognized before the performance for her 25 years as the Philharmonic’s principal harp.

To read the complete review, please click here.