I just saw this terrific video of Daniele Gatti's debut concert as the new Musical Director for the Orchestre National de France on Medic.tv (always linked on the left). I've mostly enjoyed Gatti's work, and I remember when he was starting to make a name for himself. He used to be in the conversation whenever major US orchestras were looking for their next MD, but I don't know if that's been the case lately. Maybe it's because he's in that limbo area between young hotshot and accomplished elder statesman. I certainly enjoyed the broadcast of his Parsifal at Bayreuth this summer, even if the brass and a few audience members didn't. In any case, he was in fine form here, as was the orchestra.
The program was mostly French, and I think all Paris premiers: Debussy, more Debussy, Messiaen, and, probably the most famous premier of them all, Le Sacre du Printemps. The full program is available through the menu here. Everything was quite good. Personally, I would skip the Messiaen because the flute seemed to be too loud against the strings, and was ahead in too many changes. In fact, I'm really interested only in talking about the Stravinksy.
This is one of the best-directed concert videos I think I've ever seen. Obviously this particular piece has a visual element - all that rhythmic scrubbing and thrashing - that most other works just don't have, so it's going to be more exciting to watch no matter what. I've been in and seen a number of performances of this work, and there's always plenty of action no matter who's involved, but it's the video direction that makes this work.
There are, of course, the usual stationary shots, and we get a handful of the same angles over and over again. For practical reason, that's how these things go, and handled well it's not a drawback. Here, the choice of shots and edits were simply brilliant. Judiciously timed, with an eye for that extra detail which really emphasizes the sound being made, the direction really made this performance memorable.
In addition to the usual section shots and soloist close-ups, we got to see some extra expressions and movements that I don't think the audience normally gets to see. Now, the Stravinsky is one of those pieces that looks rough on paper the first time, but is really quite doable, especially with modern players who grew up with it. Even with the tricky rhythms, many conductors will say that anyone can do this so long as they can keep a beat. As for players, it gets to the point where there's really no need to constantly count - it's a groove. And I must say, it was quite refreshing to see some good, honest grooving from a professional orchestra.
There are flashes of captivating personal moments, and sometimes the best moments are when the musicians aren't playing. After playing his riff, we see a trumpet player still wagging his head, mouth half open, totally focused yet still free. There's also the moment where the shot switches to the classic "behind the timpani" angle. The timpanist isn't playing just that second: he's dancing on his stool.
I found the whole thing exhilirating and fun. Good playing everywhere, Gatti in complete control, also enjoying himself (which helps). He also knew when to luxuriate in the orchestral colors when the time was right. I know those spots are usually obvious to everyone - any time it gets slow, really. But too many conductors make things sound too much the same as the rest of it, only slower. In my mind, that misses the point of those sections.
There's also an interview with Gatti, and lots of other stuff on Medici.tv. The video starts as soon as you click through to the site.