Startling as it may be, one could consider the possibility that the
Kirov is the Microsoft of orchestras.  It is suddenly as ubiquitous and
successful as the well-marketed but not especially great operating system.
The topic here, I hasten to add, is the orchestra, not the Kirov Opera,
which is another story.

The comparison presented itself tonight as Comrade Kirov's band appeared
in the People's Republic of Berkeley, giving a concert in Zellerbach Hall.
Throughout the program -- of Debussy's "La Mer," Prokofiev's Piano
Concerto No. 1, and the Tchaikovsky Fifth Symphony -- the Orchestra of St.
Petersburg's Mariinsky Theater played very well, but there was no majic,
no moments going into one's memory for permanent residence.  It was a
fine concert, well played.  And no more.

And what of Valery Gergiev, artistic director and "intendant"? There may be
some similarity -- in personality and marketing genius -- with Bill Gates,
but really now:  the man is a superb musician.  He has the ear, absolute
control, flair, the essence of music clearly, obviously at his disposal.
One wonders how much better the orchestra could be if Gergiev actually
spent time working with it.

"La Mer" was possibly the best part of the evening -- masculine,
straightforward, quite without mystery or, unfortunately, subtlety --
played with all the notes in place in an intense if passionless manner.
There were no passages of coloristic, shimmering beauty, but it all went
well, in one piece, and there was not even an intimation of any blue
screen of death.  A good performance by a decent orchestra.  But no more.

The Prokoviev was something else.  The orchestra could not help but go
along with the mighty, deafening banging of the keyboard by Alexander
Toradze.  The big, burly man seemed intent on pounding the piano into pulp,
and he darn near succeeded.  There is a puzzle here:  in this new golden
age of Russian pianists -- from Kissin to Sokolov to Volodos and well
beyond -- is this the best the Kirov can do?

For the Tchaikovsky, it was obvious that Gergiev was not the only one
who didn't need the score.  The whole orchestra could have performed from
memory...  and this is not to say that they went on automatic pilot -- they
didn't.  There was an attempt to make the work sound as fresh as possible,
but again, the level they reached was impressive, not thrilling.  There
were problems in the brass, but all string sections -- especially the first
violins and violas -- were doing well.  The orchestra failed work with the
acoustics of the (not terribly good) hall, there was "overmodulation" and
the feeling of "shouting" when power and strength would have been much more
welcome.  It was a good Russian orchestra playing great Russian music, but
is that all there is?

For an orchestra half the world seems to court for appearances, the Kirov
appears at this point to have more fame than substance.

[log in to unmask], SF
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