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To feel at least a hint of the familiar feeling of being outdoors, one would have had to listen to the television broadcast with the window open and standing up. At the Vienna Philharmonic’s Midsummer Night Concert, the widespread sister event of the New Year’s concert, spectators have so far been able to enjoy a top-notch orchestra for free, but had to attend the performance standing when the sound conditions were mediocre. Reason: Believe it or not, a gathering of 100,000 visitors needs free escape routes in the event of an emergency.
Such dimensions were unthinkable this year. Better the sparrow in the hand than the dove in memory, the Philharmonic could have thought and decided on a minimal variant. Instead of the hustle and bustle, this time just a few rows of seats for clients, friends, friends, and lucky folks. Krethi and Plethi were asked to attend the event thanks to the leadership of ORF 2 for a long time. What the usual Schönbrunn-Strawanzers verged on total failure. But a TV version is better than a large-scale cluster.
Parade of catchy and opulent tunes
Sure: how finely the timbres of the Philharmonic blend, how sensually they weave through the airspace, that cannot be said about the Patschenkino. Valery Gergiev, the Russian reveler with the mini baton, sticks to his reputation and plays catchy tunes like Offenbach’s “Barcarolle”, an arrangement of “Tristan” and a medley from the romantic movie “Doctor Zhivago” with an opulence that at the less sounds acoustically. The feeling of the event is established. And there is no lack of glamor, represented in the person of Jonas Kaufmann. More recently, with plenty of fresh air between Grafenegg and Michael Niavarani’s “Theater im Park”, the tenor makes his way through a bouquet of evergreens – this year’s happiness in “When it gets evening,” butchered in “Nessun sleeps”.
But wipe out the weak moments. It is a credit to the Philharmonic to have held its annual giving event in what is probably the reddest year in its financial history. And speaking of red: At the “Wiener Blut,” despite Gergiev’s penchant for the furious, they let out a charming operetta when they parted ways, hopefully 2021, followed by more applause on the spot.
