Posted: 3/20/21 at 9:06pm
but, Mike, *really* are you listening for Karajan, or for Pavarotti and Freni?
I am a long-time lurker on parterre.com, where a lot of super-smart opera fans post regularly. the ones whose opinions i respect the most pretty much don't think Levine was all that and a bag of chips. i go to a lot of operas (well, did go in the Beforetimes, and can't wait til it's safe to go again), but i'm not discerning enough to know how much was Levine and how much was the fact that the Met employs an astounding company of instrumentalists. at the end of the day, i strongly suspect Levine was not as great as his behavior was awful."
You are, of course, correct. I'm listening for Pavarotti and Freni. Karajan just happened to luck out to have two of the greatest singers of the 20th Century on his recording. In fact, I find Karajan's conducting usually overwrought and lacking Italianate style. Same for his very unidiomatic Carmen, which benefits from having the ravishing Leontyne Price and Franco Corelli as leads.
I think that appraisal of Levine from Parterre is pretty accurate. IMO, he had very few original ideas as a conductor. Granted. I never heard him conduct a bad performance, but neither were they ever transcendent, or particularly idiomatic. You're right about the instrumentalists. There were tremendously talented musicians in that pit. They sounded good under pretty much any conductor that took up the baton. Levine's greatest asset was that he played servant to his singers, allowing them to get away with interpretive indulgences that other conductors would reign in. Speaking of singers, like Karajan, Levine was the beneficiary of generations of unsurpassed talent. He was lucky enough to preside over the Met pit during the careers of singers the likes of which we may never see again. No doubt, the contribution of many musicians fell in his favor.
Updated On: 3/20/21 at 09:06 PM