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Another ‘Spring,’ and Another Storm to Weather Another ‘Spring,’ and Another Storm to Weather
(4 days later)
The riot that erupted at the 1913 premiere of Stravinsky’s “Rite of Spring” is legendary. One of the less-well-known details is the performance of the conductor, Pierre Monteux. In Stravinsky’s recollection, Monteux kept his back turned to the brawl and guided the orchestra through this groundbreaking and difficult score “impervious and as nerveless as a crocodile.”The riot that erupted at the 1913 premiere of Stravinsky’s “Rite of Spring” is legendary. One of the less-well-known details is the performance of the conductor, Pierre Monteux. In Stravinsky’s recollection, Monteux kept his back turned to the brawl and guided the orchestra through this groundbreaking and difficult score “impervious and as nerveless as a crocodile.”
On Thursday evening at Carnegie Hall, the Russian conductor Valery Gergiev appeared equally impervious to what was admittedly a much tamer disturbance before his own performance of “The Rite of Spring” with the Mariinsky Orchestra. Mr. Gergiev, who turned 60 this year, is the orchestra’s music director and the artistic and general director of the Mariinsky Theater, its home in St. Petersburg. He has recently come under fire from gay-rights activists for his chummy relationship with Russia’s president, Vladimir V. Putin, who this summer signed a law restricting public discussion of homosexuality. As at last month’s opening night of the Metropolitan Opera, which Mr. Gergiev also conducted, there were protests outside and inside the hall by gay-rights activists. They demand that Mr. Gergiev distance himself from Mr. Putin’s policies and speak out for gay rights.On Thursday evening at Carnegie Hall, the Russian conductor Valery Gergiev appeared equally impervious to what was admittedly a much tamer disturbance before his own performance of “The Rite of Spring” with the Mariinsky Orchestra. Mr. Gergiev, who turned 60 this year, is the orchestra’s music director and the artistic and general director of the Mariinsky Theater, its home in St. Petersburg. He has recently come under fire from gay-rights activists for his chummy relationship with Russia’s president, Vladimir V. Putin, who this summer signed a law restricting public discussion of homosexuality. As at last month’s opening night of the Metropolitan Opera, which Mr. Gergiev also conducted, there were protests outside and inside the hall by gay-rights activists. They demand that Mr. Gergiev distance himself from Mr. Putin’s policies and speak out for gay rights.
Mr. Gergiev continues to weather these protests with a cool indifference that would have made Monteux proud. As a handful of activists shouted, “Gergiev, your silence is killing Russian gays!,” he kept his back turned to the audience, his head slightly cocked to the side. When the protests petered out after a few minutes, he raised his baton and gave the downbeat with a good deal less visible irritation than many a conductor forced to wait out the trilling of a cellphone. Mr. Gergiev continues to weather these protests with a cool indifference that would have made Monteux proud. As a handful of activists shouted, “Gergiev, your silence is killing Russian gays!,” he kept his back turned to the audience, his head slightly cocked to the side. When the protests petered out after a few minutes, he raised his hands and gave the downbeat with a good deal less visible irritation than many a conductor forced to wait out the trilling of a cellphone.
The program featured all three ballet scores Stravinsky wrote for the Ballets Russes in Paris: the complete “Firebird,” in the original 1910 version; “Pétrouchka,” completed in 1911; and “The Rite of Spring.” That’s a heavy workload for a single concert. The Mariinsky players, who return to Carnegie Hall with a different program on Tuesday, showed impressive stamina and vigor. Mr. Gergiev’s interpretation often felt episodic — he clearly cares more about some sections of the music than others — but included memorable moments of high-octane excitement.The program featured all three ballet scores Stravinsky wrote for the Ballets Russes in Paris: the complete “Firebird,” in the original 1910 version; “Pétrouchka,” completed in 1911; and “The Rite of Spring.” That’s a heavy workload for a single concert. The Mariinsky players, who return to Carnegie Hall with a different program on Tuesday, showed impressive stamina and vigor. Mr. Gergiev’s interpretation often felt episodic — he clearly cares more about some sections of the music than others — but included memorable moments of high-octane excitement.
In a year saturated with centennial celebrations of “Rite,” this program offered a rare chance to hear three ballet scores in sequence that trace the development of Stravinsky’s art through successive stages of stylization. If the fairy-tale “Firebird” is steeped in magic realism, “Pétrouchka” wears the naïve mask of folk art. The ritualistic gestures and grimaces of “Rite” tap directly into a collective consciousness that transcends time and place.In a year saturated with centennial celebrations of “Rite,” this program offered a rare chance to hear three ballet scores in sequence that trace the development of Stravinsky’s art through successive stages of stylization. If the fairy-tale “Firebird” is steeped in magic realism, “Pétrouchka” wears the naïve mask of folk art. The ritualistic gestures and grimaces of “Rite” tap directly into a collective consciousness that transcends time and place.
“The Firebird,” with its extravagant orchestration, is known for its glowing colors, and in the Mariinsky’s performance, these came through vividly, especially in the outstanding woodwind section. But just as remarkable is the sense of motion Stravinsky creates as he passes musical motifs across the orchestra or from player to player within a section. By contrast, “Pétrouchka” uses color blocking to create a sense of petulant opposition that is also contained within the bitonal “Pétrouchka” chord.“The Firebird,” with its extravagant orchestration, is known for its glowing colors, and in the Mariinsky’s performance, these came through vividly, especially in the outstanding woodwind section. But just as remarkable is the sense of motion Stravinsky creates as he passes musical motifs across the orchestra or from player to player within a section. By contrast, “Pétrouchka” uses color blocking to create a sense of petulant opposition that is also contained within the bitonal “Pétrouchka” chord.
The problem with “Pétrouchka” is that its principal characteristic, sarcasm, is as unattractive in music as it is in people. While there was plenty to admire in the Mariinsky’s playing, there was no attempt to humanize the ballet’s characters: the ballerina appeared uptight, the Moor cartoonishly bass-heavy.The problem with “Pétrouchka” is that its principal characteristic, sarcasm, is as unattractive in music as it is in people. While there was plenty to admire in the Mariinsky’s playing, there was no attempt to humanize the ballet’s characters: the ballerina appeared uptight, the Moor cartoonishly bass-heavy.
Both in “Pétrouchka” and “Rite,” Mr. Gergiev proved to be a master of patience, reserving the orchestra’s full-throttle sound until the end. That meant that the pounding “Augurs of Spring” toward the beginning of “Rite” lacked bite — but it lent the final “Sacrificial Dance” frenzied power.Both in “Pétrouchka” and “Rite,” Mr. Gergiev proved to be a master of patience, reserving the orchestra’s full-throttle sound until the end. That meant that the pounding “Augurs of Spring” toward the beginning of “Rite” lacked bite — but it lent the final “Sacrificial Dance” frenzied power.
There was a moment of suspense when Mr. Gergiev, who received loud ovations, turned to address the audience. Would he now speak up about the protests? No. He announced that in honor of Verdi’s 200th birthday, the orchestra would now play the overture to “La Forza del Destino.” Which they did — at a breathless clip that suggested that three and a half hours into the concert, even Mr. Gergiev was ready to call it a day.There was a moment of suspense when Mr. Gergiev, who received loud ovations, turned to address the audience. Would he now speak up about the protests? No. He announced that in honor of Verdi’s 200th birthday, the orchestra would now play the overture to “La Forza del Destino.” Which they did — at a breathless clip that suggested that three and a half hours into the concert, even Mr. Gergiev was ready to call it a day.

The Mariinsky Orchestra will perform an all-Rachmaninoff program at Carnegie Hall on Tuesday; carnegiehall.org.

The Mariinsky Orchestra will perform an all-Rachmaninoff program at Carnegie Hall on Tuesday; carnegiehall.org.

This article has been revised to reflect the following correction:
Correction: October 16, 2013

A music review on Saturday about a performance by the Mariinsky Orchestra, conducted by Valery Gergiev at Carnegie Hall, described incorrectly the way in which Mr. Gergiev began the concert. He raised his hands and gave the downbeat; he did not use a baton.