‘An Impressive Philharmonic Debut’: Brett Mitchell Steps In at the New York Philharmonic
Brett Mitchell leads the New York Philharmonic at David Geffen Hall. © Brandon Patoc
NEW YORK — On May 16, 17, and 18, Brett Mitchell stepped in for his subscription debut with the New York Philharmonic, leading three performances of Kevin Puts's The Brightness of Light featuring soprano Renée Fleming and baritone Rod Gilfry, followed by the complete score of Ravel's Daphnis et Chloé featuring the New York Philharmonic Chorus.
Review: With Last-Minute Conductor Swap, Philharmonic Soldiers On
Brett Mitchell led the New York Philharmonic in the local premiere of a song cycle by Kevin Puts, featuring the soprano Renée Fleming.
"The Philharmonic announced on Thursday afternoon — just a day before the concerts — that [Juanjo] Mena would not be conducting… Instead, the conductor Brett Mitchell, the music director of California's Pasadena Symphony and a newcomer to the Philharmonic, stepped in. Mitchell possesses the right credentials, having led The Brightness of Light at the Colorado Symphony with Fleming and Gilfry in 2019. Still, this was no easy task given his truncated rehearsal time and lack of familiarity with the players... School may be almost out, but the Philharmonic passed this particular test with grit."
New York Philharmonic with Renée Fleming & Rod Gilfry — Brett Mitchell conducts Puts and Ravel
Stepping in for Juanjo Mena, Brett Mitchell made an impressive Philharmonic debut.
"Under Mitchell, the Philharmonic was rhythmically secure and well-attuned to the nuances of Puts's captivating score, and electrifying in the rapturous rendition of 'The High Priestess of the Desert'."
"Mitchell expertly managed [Daphnis et Chloé's] frequent tempo changes, alternating between languid wooing, ceremonial processions, exhilarating dances, sudden scenes of conflict, and tumultuous revelry... The vocalizing of the 60-member NY Philharmonic Chorus, meticulously prepared by Malcolm J. Merriweather, provided additional color and strength to this ravishing rendition."
"The Philharmonic was not left out of Puts's efforts—not only in the marvelously, intricately orchestrated songs, but in a pair of Orchestral Interludes, 'Georgia and Alfred' and 'The High Priestess of the Desert'—through which conductor Mitchell drew sweep and passion. He was a last-minute substitution on the podium, though he had conducted the work once before. Still, he did a stellar job, as did the ensemble."
"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. Conductor 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.)"
"There is a pleasing lyricism to Puts' writing here, and the Philharmonic produced an appropriately warm coloring under conductor Brett Mitchell, a last-minute replacement…"
"Mitchell rounded out the program with a complete performance of Daphnis et Chloé, the latest in the Philharmonic's ongoing celebration of Ravel's 150th anniversary... Mitchell kept the action moving seamlessly in a work that can easily turn a conductor into a traffic cop, and...the Philharmonic's reading offered a performance delightfully varied in color and style."
"In his Philharmonic debut, Brett Mitchell was a last-minute replacement... Even on short notice, Mitchell was well prepared for the Puts cycle, having conducted the work in 2019 as music director of the Colorado Symphony, one of the work's co-commissioners... The conductor paced both works nicely, with a good sense of where the Puts needed to breathe."
Brett Mitchell leads the New York Philharmonic at David Geffen Hall. © Brandon Patoc