Posts Tagged ‘Doug Fitch’

What We’ve Been Doing Lately

Tuesday, June 7th, 2011

By Alan Gilbert

Those of us who were involved in preparing for last year’s production of Ligeti’s Le Grand Macabre are remembering the great excitement we all felt in this very same rehearsal room as we prepare for our upcoming performances of Janáček’s opera The Cunning Little Vixen, but are also amazed at how different the space feels. This time Doug Fitch — our brilliant director/designer/costume genius — has created a fantastic, magical landscape, populated with the most gorgeous creations: animal suits, bug antennae, plants and flowers, all fashioned out of found materials and readily-available clothing. LGM (as we referred to the Ligeti) filled the studio with high-tech equipment, making it feel rather like a mad-scientists laboratory. It is a testament to Doug’s incredible range that he is able to be so convincing in such vastly varied ways. I encourage everybody to check out Doug’s Website as well as the video that was made for the Philharmonic’s site to get a real sense of this amazing artist. 

During a break in rehearsal I was talking with Daniel Boico, my terrific Assistant Conductor at the Philharmonic, about how lucky we are to have a job that can be so different from day to day. The world of theater, where we are now, is a totally different experience from what our activities last week, when we were performing and recording Time Machines, Sebastian Currier’s marvelous new violin concerto with, Anne-Sophie Mutter for Deutsche Grammophon. We literally went directly from a listening session of the first edits into a staging rehearsal for the Janáček — the contrast could not have been greater.

It is difficult to believe that only two weeks ago we wrapped up our 11-concert EUROPE / SPRING 2011 Tour which took us to nine cities. Aside from the splendid playing of the Orchestra, night after night, some of my strongest memories from the tour are of the audiences — how intensely concentrated and appreciative they were, and also how distinctly different they were from place to place, from culture to culture. Audiences may not always realize how crucial they are in creating mood in a concert, and the great influence they can make on the inspiration, or lack thereof, of the performers. Many of the Philharmonic musicians were commenting on this as the tour progressed, observing that our performances experienced subtle changes over the trip according to the atmosphere we felt in the different halls.

The Budapest audience was definitely the most shocking: they have an amazing routine that involves rhythmic clapping that gradually increases in speed. Many audiences do this, but what was unusual for us was how slowly the rhythm started; the crowd began the accelerando with such long pauses between each clap that it sounded as if they had rehearsed!

All of the audiences were very quiet during the music, but there was a special intensity we felt in Leipzig; Lisa Batiashvili, one of our soloists on the tour, said that she thinks they have “cleaner ears.”  Perhaps so, or perhaps not, but in any case there was a palpable connection that created a rare musical bond for all of us who were there.  

But now back to rehearsing Vixen: It’s taking shape wonderfully already, and everyone is excited to hear the New York Philharmonic play this luscious score. See you there!

(For more information on Alan Gilbert and the New York Philharmonic, visit nyphil.org.)

Paris Pelleas Project

Tuesday, November 30th, 2010

By Alan Gilbert

For many years I have been speaking about the idea of introducing a visual element to the auditory core of a concert with Doug Fitch, my friend and frequent collaborator. It’s a tricky matter as it is far from evident how to do so in a way that enhances the experience – by reflecting a true spiritual link between the music and images – and at the same time does not diminish the impact of the music itself.
 
When I ponder this there are several random points that come to mind, which have informed Doug’s and my musings on the subject: 

  • You can’t say that concerts are not already inherently visual: an important part of the experience is observing the ritual of the concert experience itself, from the musicians taking the stage in tails and gowns and tuning, then the concert itself, with the movement of bows and the raising of mallets, including the impressions of the audience around you and the conductor on the podium.
  • Opera is of course visual, and this is true, albeit less so, even when it is performed “in concert.”
  • Some composers purport to think in color: it isn’t just a case of Scriabin’s synesthesia, but the kind of “tone palette” used most obviously by Debussy and the impressionists.
  • Concerts on television present a real challenge: the director’s choices as when to close up and on whom can affect the viewer’s auditory experience as they guide which lines stand out, and add weight and focus in a way usually attributed to the conductor. This means that the listener/viewer is given less choice about what stimuli to respond to. In the concert hall, for example, one might be fascinated by how sensitively a violist is accompanying a famous oboe solo, and decide to concentrate on that level of the music. Seeing a close-up of the oboist’s reed, perhaps with a bead of sweat poised to drip off her nose, would, in this case, be a distraction.
  • Having consciously decided to add an additional visual element, it has to be done with taste and insight – with a real respect for the music itself.

Last Saturday Doug and I were able to act on our theories when I conducted Schoenberg’s Pelleas und Melisande with the Orchestre Philharmonique de Radio France in a performance in which Doug’s images were projected. In fact, it was a series of concerts, because the piece was being done not only in a concert for adults, but also in two youth concerts.
 
We felt that this was an ideal work for us to implement our theories. The piece, although inspired by Maeterlinck’s drama, does not follow a linear narrative. The music captures the emotional spirit – feelings, locations, characters – but it doesn’t follow the story point by point in a literal way. The Rite of Spring would have been a wrong choice because, as a ballet, it was created to convey a storyline with a specific series of visual events. Yes, in the Schoenberg there are moments when clear visual images are suggested, such as the one in which Golaud murders Pelleas, but overall his Pelleas lives in the indefinable areas of psychological exploration and emotional impact.
 
Similarly, in last weekend’s presentation Doug’s images suggested the story without relating it, in a way that was stylish and musically sophisticated – a mis en lumière. For the most part he used black and white images, which seemed inspired by Japanese painting and brushwork, with only the occasional use of color, and the images were projected on a layered series of screens to create a sense of three dimensions. And while the stage lights were down, so people could see the projections of light that conveyed Doug’s visuals, I as the conductor had to be seen by the players, so I was brightly lit, which had the side effect of letting the audience know that the music was still of primary importance. (You can see it online: http://liveweb.arte.tv/fr/part/Orchestre_Philharmonique_de_Radio_France/.)
 
People seemed to like it – afterwards, they spoke of the beauty and commitment of the orchestra’s playing, the elegance and suggestive power of Doug’s images, and, perhaps most importantly for me, the fact that they were able to switch their attention seamlessly back and forth between the elements. This had been the elusive goal we were hoping to achieve in this experimental coupling of aural and visual media. And it wasn’t just the adults at the “normal” concert who appreciated it: the children (roughly aged 9-13) clearly “got it,” even though at first blush Maeterlinck’s story of illicit love, betrayal, and murder would not seem a natural subject for a kids’ concert. When you add to it the fact that this serious, intense 45-minute score is by Schoenberg, the project could seem absurd. But the young audience listened with incredible focus. We did have some explanation and illustrations, including commentary I gave, and perhaps that helped, but the fact is that we didn’t sugarcoat anything, and once the performance began the kids listened with an impressive degree of concentration, and responded warmly when it was over. I found this inspiring, and am eager to try similar projects in New York – for audiences of all ages.

(For more information on Alan Gilbert and the New York Philharmonic, visit nyphil.org.)