I recently reported that James Levine, newly ensconced at the Boston
Symphony, seemed to be the object of widespread adulation in Beantown,
despite (or even because) his heavy investment in new-music
programming. Alas, there are now scattered signs of unease, although so
far the contemporary programming doesn’t seem to be the cause of the
trouble. Instead, oddly enough, Levine is drawing criticism from
audiences because of his rehearsal style. From the beginning of its
history, the BSO has regularly opened rehearsals to the public. As
Richard Dyer recently wrote in the Boston Globe,
conductors have traditionally made these open rehearsals little more
than run-throughs — essentially, extra performances for a
reduced fee. Levine, bless his stubborn soul, is actually rehearsing
during the Open Rehearsal. Writes Jean Natick to the editor of the Globe:
“The Boston Symphony Orchestra open rehearsal on Nov. 11 conducted by
James Levine was a disaster. My friends and I understand that Levine is
a perfectionist, but I do not understand why there had to be such an
extraordinarily large number of interruptions… If this type of
rehearsing is to be the norm, we suggest that there be no admission
charge or no audience. It would have been appropriate for Levine to
acknowledge the audience at least once.”
This attitude
is perplexing. Does Ms. Natick want a great orchestra, or merely a
mediocre one? Great orchestras are made in rehearsal. Perhaps the
gripping intensity of the Eroica that night was owed to the
extra burst of rehearsal in the afternoon. Plus, isn’t it interesting
to hear how a one-in-a-million musician like Levine rehearses? In
defense of Ms. Natick, the conductor’s comments on the podium are
apparently all but inaudible, so that to the audience it does sound
like nothing more than stopping and starting. Dyer suggests that Levine
be given a small microphone so his comments can be heard. And, yes, a
little hello or goodbye to the onlookers wouldn’t hurt.