Saturday, October 4, 2025
Berliner Philharmonie, Herbert-von-Karajan-Straße, Berlin
Walking very slowly, struggling to mount the podium, looking unwell (which we know he is), Daniel Barenboim’s conducting (if that’s the word) with minimal gestures didn’t always seem to address the music (although conducting can be a black art) if here with core repertoire for the Philharmoniker. The Oberon Overture was time-taken, somewhat pedestrian, the clarinet-led second subject dragged out. Schubert’s ‘Unfinished’ Symphony was mostly somnambulant and dull (the exposition repeat in the first movement served only to highlight this); if fortissimos were boldly sounded then quieter dynamics were expressively feature-less. Following the interval, Beethoven Seven was better, livelier, even if visually Barenboim’s lack of gesture seemed to leave the players to fill in the blanks, totally achieved: balances were good, details clear, and if tempos were measured that could be all to the good, as is omitting the first-movement repeat. Barenboim took the four movements virtually attacca, with the Allegretto a little sluggish, the Scherzo nicely pointed, although the Trio was overly indulged, and the Finale (no repeat) was heavily stamped out, an opposite pole to renditions that blaze through it glibly. Many cheers and a standing ovation followed, surely reflecting the admiration and affection that Barenboim is held in rather than these particular performances. Having interviewed Barenboim – he was good to talk to, including interesting conversation about our shared esteem for Celibidache – it gives me no pleasure to write the above.
Postscript: Daniel Barenboim’s close friendship with Zubin Mehta prompts me to ponder Mehta’s non-appearance with BP this season, which includes his ninetieth-birthday. Mehta made his BP debut in 1961 and has conducted virtually every season and, like Barenboim, is an Honorary member of the orchestra (below). It could be nothing more than no mutual dates were found, and not related to Mehta cancelling quite a few appearances in recent years – but so has Barenboim, as has Herbert Blomstedt, and he too has Berlin dates. This season Mehta is engaged by the Czech, Los Angeles and Vienna philharmonics, Bavarian State Opera (a New Year’s Eve and into 2026 Fledermaus directed by Barrie Kosky), the Symphony Orchestra of India, and, on April 29 (the birthday itself), at the Maggio Musicale, when he leads Beethoven Nine. In this context, Berlin is conspicuous by its absence.
Conductors are long lived and Maestro Mehta, as we know , has had an illustrious career and never fails to pack concert halls.
I wish him better health, rest and contentment.
I agree with what you’ve written in your first paragraph, and like you, it gives me no joy to write this, as I’ve watched, and enjoyed, his performances for years and years. And yet, the last several times he’s led this amazing group, there was very little life in the performance, and it was very painful to watch and hear.
It seems to me, it’s time for him to pass the baton.