Muti conducts an explosion of orchestral color in Vienna

Since his last appearances with the CSO in May, Riccardo Muti traveled to Austria to conduct the Vienna Philharmonic at the Musikverein in four performances (May 21-24) of a French program that included Debussy’s Nocturnes and Berlioz’s Symphonie fantastique. The headlines of Die Presse exclaimed “Muti’s Debussy shimmers and Berlioz captivates,” while the Kurier heralded the performances as an occasion, “when various artistic dreams become a stunning musical reality,” in reference to the program’s evocative works brimming with rich orchestral color, depth, and expression. The review in Kronen Zeitung added, “Muti leads [the philharmonic] with the highest precision, passion and joy of refined colors.” 

Each of these pieces was decisive in the development of expressive possibilities of the modern orchestra — two works, “in which impressions, moods and feelings determine everything from the forms to timbres and instrumentation” (Kronen Zeitung). Muti exhibited an expert understanding of these distinct musical pallets, as was noted by Pablo L. Rodriguez in his article for Scherzo: “The Vienna Philharmonic attended the directions of the Italian master... in a room with acoustics of supernatural transparency and exquisiteness.” 

Debussy’s Nocturnes was inspired by paintings by James McNeil Whistler and, in the composer’s words, depict “all the various impressions and the special effects of light” of the night sky in three distinct settings: Nuages (Clouds), Fêtes (Festivals) and Sirènes (Sirens). The final movement features a female chorus, sung by the women of the Singverein of the Gesellschaft der Musikfreunde for these performances, to depict mythical sirens of the sea.  “With all the penchant for the dazzling splendor of colors... Riccardo Muti showed the full spectrum with the Vienna Philharmonic at the Musikverein this weekend,” read Die Presse. 

The second half of the program was dedicated to Berlioz’s Symphonie fantastique, with its the famous episodes about an artist who travels from daydreams of his beloved — identified by the idée fixe theme — to a glittering ball then an idyllic country scene followed by the March to the Scaffold, and Witches Sabbath. Muti mastered its “shimmering, flickering, but also dramatically gripping moments” (Kronen Zeitung). Die Presse’s Walter Dobner described Muti’s interpretation of the Berlioz as “striking” and a “thrilling Berlioz experience”— “the philharmonic faithfully followed the conductor’s intentions and left nothing to be desired.” “Expressed with an infinite love of detail and in the right moments with the drama... rarely do you have Berlioz so riveting and also so touching. A justified ovation!” wrote Peter Jarolin of Kurier. Audiences gave the opening night concert of the sold-out run “frenzied applause” and a “minute-long standing ovation” (Der Standard). Muti shared the warm reception with the orchestra, inviting each soloist to take a bow.  

In addition to these performances, Muti led an open rehearsal on May 20 with the Vienna Philharmonic for young listeners participating in “Jeunesse” — a nonprofit concert promoter with a focus on young people.