Beethoven's Ninth with the Munich Philharmonic: Furor without excess pressure

Created: 2022-12-31Updated: 2022-12-31, 1:49 p.m

By: Markus Thiel

Stand-in Kevin John Edusei conducted the Munich Philharmonic for the first time.

© Marco Borggreve

Not a trace of routine: Stand-in Kevin John Edusei gives the Munich Philharmonic an exciting ninth.

I know the piece, you anyway, we'll manage it somehow - even with this attitude, the end of the year ninth with the Munich Philharmonic would have been waved through.

But instead: not a trace of Beethoven routine, a strong will to create, in general a great curiosity about discovering a few new aspects in the score, which has been muddled through to the end.

For Kevin John Edusei, who replaced Maxim Emelyanychev at the podium in the Isarphilharmonie for a short time, it was his first assignment with this orchestra - although he is well known to local classical music consumers as the former head of the Munich Symphony Orchestra.

He, who has just made a series of top-class debuts, is impressive because of the self-confidence and sovereignty with which he pushes through his ideas.

Edusei takes Beethoven's tempo markings very literally.

And yet, with all the furor, with all the virtuosity demanded, this is rarely rushed.

The Philharmoniker play in a slim line-up, the Philharmonic Choir has descended from its usual tribune onto the podium.

The ensemble, rehearsed by Andreas Herrmann, sings vividly as usual, but never thunders up the final movement in a parade of effects.

Nothing sounds overwrought.

Despite intense emotion, one gets the impression (basically a paradox) that everything is completely natural.

Reinviting Edusei should be a matter of course

Edusei's interpretation is taut and sinewy, and above all rich in content.

An overly sharp relief emerges, the historical performance practice echoes in the back of the mind, but nothing drifts into the academic.

The adagio pulsates, doesn't exude sentiment, the melody unfolds as if it were a large-scale song.

And in the joyful finale there is neither posturing nor theatricality, but drama without extra pressure.

The solo quartet with Janai Brugger, Katija Dragojevic and Simon Bode, which is rather lyrical with the exception of Gábor Bretz, also fits in with this.

Actually the ideal case when a jumper uses his chance like this.

In jubilation, Edusei throws his bouquet of flowers into the audience.

A re-invitation should be a matter of course after the emergency operation.