EIF Review: Beethoven 7 & Ortiz

Beethoven 7 & Ortiz played by the Los Angeles Philharmonic, with singers from the Los Angeles Master Chorale, conducted by Gustavo Dudamel, was always likely to be a dream ticket. Performed in the Usher Hall, it almost felt as if the stage wasn’t quite big enough for the number of musicians and instruments on the stage.

Such was the interest in this concert that additional tickets were made available in the organ gallery. Complaints about the dynamic pricing decision didn’t seem to have put people off booking their tickets – it was pretty much a full house.

And deservedly so. The first half of the concert was the instantly recognisable Beethoven. It’s a majestic, wonderful piece, which was always going to be a crowd-pleaser. I’ve never heard it played as well as this before. It had heart. It had joy. It had heartbreaking lyricism. It had everything. The LA Philharmonic are one of the best, if not THE best, orchestras in the world.

Dudamel is in the same league. Together they make amazingly wonderful music and, despite being soaked by two people behind me who accidentally spilt their water on the floor, I was mesmerised and never stopped smiling. Dudamel knows how to get the best from the best and it’s a joy.

He’s a passionate conductor who almost seems to dance to the music at times, rising up on his toes and swaying in seeming rapture. Equally, he can stand almost motionless and just let his orchestra do their thing, as if as rapt as the audience. This is some sort of magic.

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This part of the concert ended to rapturous applause, and Dudamel came back on stage to allow his orchestra to take their thoroughly deserved accolades. He didn’t return to the rostrum; he stood among the musicians, which seemed to define the man – one of them, not above them. I loved that gesture.

Scottish Premiere: Gustavo Dudamel Conducts Gabriela Ortiz’s Revolución Diamantina

The second half of the concert was the Scottish premiere of Gabriela Ortiz’s ‘Revolución diamantina’ (Glitter Revolution). This was in complete contrast to the Beethoven. It’s a gut-wrenching, difficult piece to listen to, dealing with themes of violence towards women.

It felt like the ‘dangerous music’ my brother and I knew as children signified something scary was going to happen in a film or TV programme. Time to hide your eyes or, in this case, ears. There isn’t much respite in this piece, and I couldn’t sum it up better than in Dudamel’s own words: ‘Gabriela Ortiz’s music speaks to both the body and the spirit, full of visceral primal rhythms and mysterious soul-searching melodies’.

It’s challenging, percussive, relentless. It hits the mark. The LA Master Chorale singers were amazing. Only eight of them, but they were powerful and easily matched up to the orchestra, Dudamel encouraging them all the way. What they were given to sing was often weird and mysterious, but also strong and visceral. I loved it.

Those lucky enough to have picked up the tickets in the organ gallery were rewarded by a round of applause from Dudamel at the very end of the concert. How special would that have been? How special is he?

So a first half of a real favourite and a second half in uncharted waters. I loved that disconnect. Lulled in the first half, challenged in the second. I doubt anyone in the concert hall will forget this night in a hurry. It was everything anyone could possibly want, and I’d do it all again tomorrow given half a chance. Wonderful.