You take your chances when you mix music and nature – what with threats of heat, rain and the local entomology. But a pastoral grace held sway over the Philadelphia Orchestra’s return to Longwood Gardens Saturday evening, bolstering the notion that this recent (re)marriage of venue and ensemble might be the best thing to happen to both in some time.
Thousands voted favorably. For its 2008 appearance, the orchestra sat down, rather formally, between the conservatory and fountains. This time, the less manicured sloping meadow was backdrop for more than 3,300 listeners in an intermission-less hour-and-twenty minutes of Johann Strauss “Emperor” Waltzes, the Bruch Violin Concerto No. 1 and Beethoven’s Symphony No. 5.
As the sun set behind Strauss and murmuring meadows, you couldn’t help swoon over possibilities for the future. The Boston Symphony Orchestra has woodsy Tanglewood, Glyndebourne opera reveres its polite picnic grounds, a ha-ha for sheep and 700-year-old manor. Classical music meets summer in many other lovely venues. Longwood, gorgeously endowed with 1077 acres 30 miles west of Philadelphia, beats them all. With the Philadelphians in the mood to cultivate listeners – and donors – closer to home, and Longwood set to complete a strategic plan next month that will mull facilities needs for its growing performing arts program, a real partnership should be within grasp.
The details of the experience – a new building, how big, where? – are formidable. But these one-time-only concerts will help inform the discussion. The audience Saturday evening could choose between temporary seating and blankets on the lawn. We chose a blanket fairly far from stage, and the sound system, though surprisingly present, couldn’t fully convey all dimensions of the performance. How, for instance, in such a setting could you really assess the quality of sound conductor Asher Fisch was drawing from the ensemble? And yet strong clues suggested that the leader managed a strong interpretive imprint. Concertmaster David Kim was the assured soloist in the Bruch, but it was Fisch who, in the first movement, moved apace with real fire.