MUSIC REVIEW : Symphony Flails Mozart Under Guest Conductor

Contrasted with the elation of last week’s San Diego Symphony performances under music director-designate Yoav Talmi, the ethos of Thursday’s symphony concert was dispirited to say the least. Guest conductor Reinhard Peters, the Berlin Philharmonic’s permanent guest conductor, started the program inauspiciously with a testy, unrefined reading of Mozart’s “Jupiter Symphony.” Although Mozart is not the local orchestra’s strong suit, it has seldom treated poor old Amadeus with such careless, unsympathetic playing. Peters slashed away as if he were beating a foe into submission, turning the usually sunny work into a dour exercise.

Following the Mozart symphony with Chopin’s First Piano Concerto may not have been a programming stroke of genius, but at least it brought Cuban pianist Juana Zayas into the picture. Her brilliant grasp of the concerto and her refined sense of style exorcised the negative karma from Symphony Hall. Especially in the concerto’s shimmering middle movement, she waxed poetic without a hint of indulgence. Her execution of a true Chopin rubato was exemplary, as were her phrasing and articulation. She made the rondo dance with the clarity of her rhythmic ideas. Fortunately, the orchestra managed to absorb a modicum of her generous spirit in its accompanying role.

The longish first half was followed by Hindemith’s symphonic extracts from his opera “Mathis der Maler.” Peters seemed much more comfortable with this colorful orchestral showpiece, although his podium style still bristled with busy, exaggerated movements. Most compelling was the orchestra’s dramatic final movement, “The Temptation of St. Anthony.” Peters demanded bold declamation, and the orchestra responded eagerly, especially the brass choirs, whose burnished flourishes had the unwavering strength of a mighty cathedral organ.

Peters’ interpretation of the opening movement, “Angelic Concert,” lacked the ethereal edge, that sense of awe the composer meant to instill as he depicted a mystical panel from Matthias Grunewald’s Isenheim altarpiece. These jaunty angels sounded more like gamboling nymphs. Nevertheless, the orchestra pulled together and redeemed the sins of the first half.