Sierra Faith

Wow.

Sitting in the first row.

Packed house.

Michael Tilson Thomas (MTT) and the San Francisco Orchtestra performing their dual Grammy Award Winning Mahler Symphony No. 7.

Simply Stunning.

Electric.

I knew about five minutes into this seventy-eight minute work that this was going to be one of those nights I will remember the rest of may days on this Earth.

MTT himself knew it was a night to remember after finishing.

His word after turning to step down from the podium and leaving after three standing ovations: “Wow.”

You could also see it in the eyes of the performers — they were On and Having Fun (they clearly adore MTT, and theirs is not an unrequited love).

The evening began with Mozart’s Sonata in E Minor for Piano and Violin, K. 304.

Being so excited about Mahler, I didn’t notice that the lights had gone down and nobody was on stage. Well, of course, I told myself, this is a sonata, and Alexander Barantschik (SFS Concertmaster) would be playing with a pianist.

OK, but who is the pianist?

MTT.

And I’m in the Front Row!

One moment will remain in my mind’s eye — MTT conducting himself with his left hand for several bars of solo right hand.

It was an exquisite appetizer for the red meat to follow — even Barantschik didn’t know who should exist the stage first, himself or MTT. MTT, ever gracious, invited Barantschik to lead the way.

It was obvious where MTT’s mind was, although his playing was masterful — and to see him play the piano up close was over the top.

Appreciative but quick applause — let’s get to Intermission and Mahler already!

OK, Intermission. Left work late so needed my favorite Turkey Wrap and ate outside on a blustery but bracing San Francisco June evening watching Van Ness traffic dart past Davies Hall and City Hall.

Quick drink of water and back to the business of the evening.

Now, for those of you without much knowledge of Mahler, Symphony No. 7 is a colorful voyage. Sit back and revel. I highly recommend the SFS performance (or here at iTunes!).

Upon coming on stage, MTT greeted Barantschik and said (another distinct advantage of a, Oh, did I say I had a front row seat?), “Haven’t we met before?”

OK, so MTT is pumped.

The first movement, Langsam─Allegro risoluto ma non troppo, was riveting in the truest sense of the word. I caught myself holding my breath several times. Hair on neck standing up. You could hear a pin drop at the end. The hall was frozen in time. Did I say electric?

The second movement, Nachtmusik I: Allegro moderato─Molto moderato (Andante), required MTT to remind Robert Ward that is was time for his horn to sing. I think Ward missed the first cue, since MTT seemed to be conducting a few bars with no music, and he repeated his gestures and then horn. Many of the principals in the orchestra had that chesire grin (having seen it before) to suggest Ward missed the first cue, but Wow, did he come out and plant the notes. The second and fourth movements give this symphony its name, Song of the Night.

There is a cello riff plucking notes downscale, and principal cellist Michael Grebanier went at it with gusto — so much so that MTT and the principal cellists and violists chuckled after MTT and Michael exchanged grins. OK, they know this is a special night. They are having fun.

Before the fourth movement, MTT turned around to look out into the audience. Folks were settling back down. Settle down folks — you need an attention span of seventy-eight, not eight minutes.

Before the fifth movement, MTT again looked out, then back at the orchestra, then back at the audience and said, “Hang in there!” That brought the house down. Some members of the orchestra smiled, but most were focused on the fifth movement, “Bright day.”

I had thought that MTT was pleased throughout, but at the end, it was undeniable.

For those who know the last movement, you know it begins with a raucus timpani introduction and clarion calls from the brass. Precision was exhibited throughout, but the passion too was palpable. The playing was masterful, confident and simply scrumptious.

The ending sneaks up on you, and when it did tonight you knew it was a night for the roses when MTT threw his baton on the stand like it gave him an electric shock. He was ecstatic, joyous and exhausted. These are the little things you never see when you listen to a CD — it was, well I can’t think of a better word than spellbinding.

I physically jerked my entire body at the end — tight and tense leading up to the ending and then instantly stretched my whole body and said with the house, “Whoa!”. It just happened. Yes, I was into it (and did I say I was in the first row?).

The house erupted the instant the baton had landed in the stand — immediately.

OK, now I’m exhausted simply remembering this treasure of an evening.

The strings tonight were delicious, both warm and light per the occasion. The precision was astounding — each section sounded like one instrument.

The woodwinds were bright, full and clear, and the playing of principal flutist Tim Day was simply lovely.

The brass shined in this showpiece — no fear was shown nor heard and they created high excitement. Robert Ward hit all the notes tonight.

As did the percussion — David Herbert had the timpani singing as no other can.

Yes, the adjectives are overflowing, but it was an electric evening.

Listen to Mahler — you will be glad you did.

And, if you ever visit San Francisco, never miss the opportunity to see and hear the SFS under MTT.

You will be in for a treat you will not forget.

What a way to finish the season.

Wow.

But Wait!

The June Festival is starting.

I’ll be there!

This entry was posted on Friday, June 8th, 2007 at 1:41 am and is filed under California, Culture, Thoughts. You can follow any responses to this entry through the RSS 2.0 feed. Responses are currently closed, but you can trackback from your own site.