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Classical Standards Philadelphia
Marian Anderson Hall, Kimmel Center for the Performing Arts
05/01/2025 - & May 2*, 2025
Richard Wagner: Overture to Tannhäuser
Franz Liszt: Piano Concerto No. 1 in E‑flat major
Richard Strauss: Till Eulenspiegel’s Merry Pranks, Op. 28
Richard Strauss: “Dance of the Seven Veils” from Salome, Op. 54
Haochen Zhang (piano)
The Philadelphia Orchestra, Tugan Sokhiev (conductor)
T. Sokhiev, H. Zhang (© Diana Antal)
The distinctive conducting style of Russian maestro Tugan Sokhiev met the resilient musicianship of the Philadelphia Orchestra this weekend, sparking an exciting burst of energy in a program of classical standards.
Initially, I yawned as I considered that program: Wagner’s Overture to Tannhäuser, Till Eulenspiegel’s Merry Pranks, “Dance of the Seven Veils”, and the Liszt “triangle” concerto (so‑called for the insouciant triangle hovering in the background of the score.) These tried‑and‑true works have enjoyed a history of bland popularity since their origins in the 19th and early 20th centuries. But from the first attention-grabbing chords in the overture, it was clear that Sokhiev had some bold ideas for refreshening them.
Sprawling across the broad stage, the orchestra produces a glorious sound under normal circumstances. Conducting without a baton, Sokhiev led the ensemble with non‑stop musical pyrotechnics, his face animated, a charge of vivacity electrifying his entire being. All this from an artist who has confronted some difficult choices in recent years as politics has frequently disrupted cultural decision‑making.
Concert-goers of a certain age may recall a time when programs such as these were the norm: mostly 19th century in pedigree and with thoughtful but not overly emotional presentations by mid‑sized orchestras. Here, the Philadelphians pulled out the stops, occupying every inch of the stage and unleashing the full power of their magnificent instruments. The air quivered with tonal color in Richard Strauss’s “Dance of the Seven Veils”, especially during principal Philippe Tondre’s sumptuous oboe passages. I was also impressed by the many moods of Till Eulenspiegel, a work that introduced me to music when I was five. Jennifer Montone, principal horn, was at once jaunty and distinguished in this crowd‑pleasing tone poem about the adventures of a medieval trickster.
But as impassioned as these performances were, I was not prepared for the performance of Liszt’s Piano Concerto No. 1 (the aforementioned “triangle” concerto) by Chinese‑born pianist Haochen Zhang. I’ve heard so many tepid renditions of this work, I had forgotten how powerful and absorbing it could be. Zhang launched into the opening phrases with controlled ferocity, maintaining a high level of eager anticipation of great music to come. I loved this sense of emotional catharsis, a deep, profound reading as though Zhang could get directly into Liszt’s head and heart. This was no mere showmanship, not the fast and flashy playing of a prestidigitator. Here was a mature artist sharing his vision of Liszt: a tale of sonority, vulnerability, and power.
Following three curtain calls, the pianist performed an encore, the Chopin Nocturne in C‑sharp minor, full of silvery trills and elegant whispers. Such a difference from the explosive presence of the concerto! Zhang proved he has a range extending from the formidable to the discreet, a thrilling addition to a concert that proved far more adventurous than the familiar titles listed in the printed program.
Linda Holt
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