Simon Rattle’s successor is a surprise. The silent, subtle, highly romantic Kirill Petrenko rising from the opera ditch ans chief desk of Philharmonic
Kirill Petrenko during rehearsals | © Claudia Esch-Kenkel / dpa
This time, have the 124 musicians of the Berlin Philharmonic not previously been told where and when it is most secret and important to them. The mass media peer pressure had grown on the first try so that the stressed Philharmonic adjourned the election and took into account, now you’ll attest them a crisis. This time it worked. The ballot has now been decided where the succession of Simon Rattle in 2018, was a surprise to the rest of the world.
surprised the result? Yes and no. No, because the designated Kirill Petrenko for years is “under Genie suspicion” and is celebrated at least since the Bayreuth Ring two years ago as a “savior”, even as “unrivaled best conductor for highly romantic”. As far as the vocabulary of the Maestro Bestaunung that applies just someone who is admired equally with hot breath as “anti Maestro”, but in order to say the least equal to, actually does an excellent job. It is surprising indeed that the now 43-year-old musician has made his brilliant career so far, especially in opera and beyond the concert halls. He may be performed with prestigious orchestras around the world – with the Berliner Philharmoniker, he debuted in 2006 – but has never been a primary geared to symphonic ensemble artistic conducted like any traded as favorite musicians of Dudamel about Nelson to Thielemann. An experience so far (except Celibidache) also each head of the Berlin Philharmonic brought.
But not the only reason no one had Petrenko really on the screen when it came successor to Simon Rattle. Firstly Rattle is a communicator who never abtäte interviews a waste of time as Petrenko. On the other hand there is in the wider public still (or again) the hierarchical expectations, at the top of “best orchestra” had a clearly recognizable as auratically person standing, whether similar to a German oak or a Venezuelan forest fire. Petrenko, now music director of the Bavarian State Opera, but noticed especially as obsessive worker, fussy, enthusiastic, humble. When he still gave interviews, he threw his profession before the conductor had “stunned” as a central instance “the joint hearing”.
Sound work, integrity and collegiality
Of course, he also once said that he would “never again boss” be. He was first in Meiningen, where he was the youngest general music director and as long before him Hans von Bülow, the orchestra such on the ball (and by a spectacular Ring ) brought that to him at the Komische Oper Berlin fetched. Right to purchase it existed as an endurance test, in addition to the Every concert podium a petting zoo is: He conducted Mozart’s Abduction from the Seraglio , directed by Calixto Bieito and developed a solid exhilarating sound in perfect contact with the stage also when the singers were busy to produce beautiful sounds despite Würgehalsbändern, beatings and attacks on all sexual characteristics.
And he stood on this controversial production. How important to him are integrity and collegiality, as hated any intrigue, which has recently been significantly as he who does not like to talk even during rehearsals, “the unprofessional and completely undignified handling of the Bayreuth Festival with the Festival Director Eva Wagner-Pasquier and the performer Lance Ryan “publicly reprimanded. From the Ring Let him not go back just because of that, so as not to leave the ensemble temporarily down. This courageous action against those dubious power games that we have become accustomed long ago to dismiss us as a summer folklore, shows that he does not see artistic separated from human responsibility. His election to Rattles successor apparently was not in the way.
Heartland High Romanticism
Of course, the Berliner Philharmoniker have not decided on a do-gooders, but for those musicians who, as he modestly beyond the tones acts as “Penetrenko” stubbornly polishes in shades, but in concert all locks can tear. The Berlin recording of Scriabin’s Poème de l’Extase is the heady and also confirms Petrenko interest in not ridden repertoire. Elgar’s Second and even music by Rudi Stephan he played with the Berlin Philharmonic – where there’s something like that? But his heartland is that high romance of Wagner to Mahler and Strauss, for whom some of the orchestra probably a warmer, bekennenderen tone desired than the cool Enlightenment Simon Rattle.
As might a such Petrenko a new synthesis between analysis and emphasis succeed. As could the Russian Existential that he (although it already with 18 years of Siberia to Austria moved) brings, create a liability in which it does not get too cozy. That Kirill Petrenko not noticed as a conductor of contemporary music, although lets hope “savior” in this regard, no. But one that a guy with “As you go long” attitude also do not want to, but for a self-doubt capable partner, is a good sign. And that the man comes from the musical theater, is an even better. Since it is the response to a changing present that is already much further than in the concert business.
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