DEBUSSY'S HEAVY DOSE OF HEAVEN
                       In an S.F. Symphony & Chorus Extravaganza 
                                              By Paul Hertelendy 
        artssf.com, the independent observer of San Francisco Bay Area music and dance 
                                                                 Week of Jan. 14-21, 2012
                                                                  Vol. 14, No. 37
             Can we find fulfillment through 65 minutes of nonstop celestial rapture through an orchestral cantata?

<>            Some can’t, some can’t. The jury is still out on Debussy’s controversial century-old “The Martyrdom of St. Sebastian,” an overly generous outpouring of ecstatic rapture delivered by celestial figures, one that barely alludes to the gruesome ending of Sebastian by a firing squad of archers.
            The bright Symbolist imagery of the French narration is interspersed with vocal selections and orchestral interludes in one of the most fervent and ethereal religious works of the 20th century. Unfortunately, as is proven in the Opera House almost annually, you can create far more riveting drama around Hell than around Heaven. This was only the second time in the 100-year history of the S.F. Symphony that it was presented in toto. It’s an extravaganza of ballet, theater and concert, in toto, but narrowed down to fit Davies Hall’s modest stage confines on Jan. 12. It was effectively amplified by film and major lighting effects.
            As befits celestial voices, special high-echelon platforms were built as their podia, close to the chorus in the lofty terrace elevations. While in these tight quarters the large ballet had to be shelved, Director Anne Patterson opted for a Sebastian-like figure (a bare-chested Damian Smith of the S.F. Ballet) enlarged on film above the orchestra. Even though at least three of the roles were male, compser Debussy called on female singers throughout; and this time, even the narration was turned over to a woman, the actress-singer with the impeccable euphoric French, Frederica von Stade.
            The ecstasy and the religious fervor of Sebastian dominate the piece within its sea of tranquility. Along the way, an  oversize Wagnerian orchestra (with three harps, no less---for Heaven, what else??) renders a reverent romantic score at times reminiscent of the opera “Pelleas and Melisande” as well as, per  MTT commentary, Wagner’s “Parsifal.”   If the orchestral colors rarely match Debussy’s most flamboyant touches, ascribe that to the composer’s associate, André Caplet, who did much of the orchestration and probably also some composition.
            The net effect of this large-canvas piece built around the ardently visionary poetry of Gabriele d’Annunzio is less of drama and more of a meditation/reflection, esoteric and highly elevated. Its impact is more like high mass than like opera, at least if you overlook the sensuous and thoroughly French poetry extolling the “lovely Adonis” that is Sebastian.
            Michael Tilson Thomas conducted it with affection and feeling, backed by first-rate singers, all in costume: Mezzos Leah Wool and Sasha Cooke, and sopranos Joanna Taber and Karina Gauvin.  The symphony chorus, dominated by sopranos and tenors, provided trips to the stars considerably more economical than current-day Russian space travel. And in the orchestration, one was struck again and again by the subtle and mellow use of the woodwinds.
            Even in this scaled-down version, this was a high-budget production  which made sense as a one-time centennial tribute---both to Debussy’s “Martyrdom”  and to the S.F. Symphony, marking dual 1911 beginnings. However striking its ethereal message from the clouds, the piece is hardly absorbing enough to be anything more than a concert-hall rarity.
             After dutifully listening to it all, and joining the crowd in its polite applause (on Jan. 12), I'd vote for getting back down to earth, to the nitty-gritty of life, inspiration, and drama.
            Filling out the concert was Leos Janáček’s exuberant, infectious and quasi-military “Sinfonietta” (1926), dominated by 20 brass players (!) and overachieving timpani, who opened and closed the 25-minute opus, with about half the brass deployed very effectively in the high terrace behind the orchestra.   

<>        These San Francisco Symphony concerts continue through Jan. 14 at 8 p.m. For info: (415) 864-6000, or go  online. Broadcasts on KDFC-FM (102.1) at 8 p.m. on the second Tuesday following.
        ©Paul Hertelendy 2012
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           Paul Hertelendy has been covering the dance and modern-music scene in the San Francisco Bay Area with relish -- and a certain amount of salsa -- for years.
    These critiques appearing weekly (or sometimes semi-weekly, but never weakly) will focus on dance and new musical creativity in performance, with forays into books (by authors of the region), theater and recordings by local artists as well.
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