Classical Music

Not everyone loves Gustavo (Dudamel)

It had to transpire sooner or later. The cliche demands it. Callow classical superstar skyrockets to stardom. Critic says linger a minute not so recklessly.

Music critic Anthony Holden held forth in last Sunday’s Looker-on on the topic of one Gustavo Dudamel.

“What does Dudamel sell for succeed in to these world-grade ensembles beyond charisma, booming box bit and a lucrative recording bargain? Immature filthiness was the most striking component of Tuesday’s concert in the Usher Entry, Dudamel’s gleam manner masking his bar-by-bar propose to, devoid of any sense of the architecture or underlying sense of a work as complex as Berlioz’s Symphonie Fantastique. Lesser feeling ready music such as Copland’s Appalachian Evolve and Ravel’s La Valse also came and went in rudimentary, cursory taste, a shimmering covering glamour masking their obscured depths.”

OK, I’ll bite. I meditate on Mr. Holden delivering this insufficient broadside from the console of an overstuffed leather bench, brandy snifter in deliver, monocle steadfastly ensconced in his communistic eye.

“Immature unsophistication, indeed,” he says. “I much lean mature, well considered rudeness.

“Furthermore, he soul missed the deep, underlying message of that most abstruse of works, the Symphonie Fantastique, with all of its retrograde inversions, Schopenhauerian assertions and quantum physics (in the trombones, mostly). Mr. Dudamel, if you can credence in it, sir, actually seems to improvise that this music is flashy!

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