An evening with legendary violinist Itzhak Perlman is always a memorable occasion, though calling his appearance with The Cleveland Orchestra at Blossom Music Festival a concert would not be quite correct. It was more like a lovefest. Perlman’s entrance onstage instantly brought an adoring audience to its feet. He basked in an all-Beethoven program, enjoying lush support from the orchestra in two short works, then picking up the baton to lead the Egmont overture and Seventh Symphony. After the final notes faded, no one looked happier than Perlman as he joined in enthusiastic applause for the performance.
The short pieces offered light duty and perfect fare for a midsummer evening outdoors. The two Romances are early works with both Classical and Romantic flavors, lyrical and inventive, though not terribly demanding. Both open with a short violin solo that Perlman used to set a relaxed tempo and gentle touch, playing lines throughout as soft as summer breezes. The orchestra responded in kind, adding richness to the melodies and buoyancy to the sound. It was a fine match, unhurried and engaging, with just enough color and craftsmanship to give the music character.
Perlman played with the same sophistication and verve that have always been hallmarks of his style, though with less intensity, befitting an artist turning 80. The technique was flawless and Perlman still squeezes expression out of every note, but his sound sometimes seemed small, easily overwhelmed by the orchestra. Still, the elegance he brought to the music was unmistakable, and the rapport he enjoyed with the orchestra gave the music an added glow.
The low-key approach that Perlman took in his playing extended to his conducting, starting with a relatively quiet Egmont. After a dark, measured opening, he unfolded the piece gradually, keeping it more muted than heroic, saving an energetic burst for the ending. Drawn-out phrasing added dramatic effect, sans any peak moments. The orchestra captured the mood with strings showing both power and grace, brightened occasionally by golden tones from the woodwinds. It was a thoughtful, if understated treatment, with the ominous tone set at at the start never relinquishing a steady grip.
Perlman opted for a more straightforward treatment of Symphony no. 7 in A major, setting a livelier pace in the first movement, coaxing the themes into big, bold statements and letting loose with a rapidfire rendition of the finale. He showed himself to be skilled at massaging melodies and creating textures, the latter particularly satisfying in the normally weighty second movement, which felt as delicate as brush strokes. If the music never quite reached noble heights, it nonetheless had irresistible power and momentum. And it was remarkable to see the elegance in Perlman’s style come through in the playing he drew from the orchestra.
Conducting is a relatively recent pursuit, so it’s not surprising that some of the finer points of the art – clarity, balance, crisp edges – were absent under Perlman’s baton. But that wasn’t the point of this performance. Looking professorial, wearing glasses and wetting his finger to turn pages of the score, he was indulging in music that he loves – so much so that he occasionally closed his eyes and swayed along with it. That left a lot of the detail work up to the musicians, which was not a problem with this orchestra; it plays Beethoven as beautifully as any ensemble in America. Paired with a virtuoso who has devoted his entire life to making exquisite, unforgettable music, it made for another storied night under the stars.
