MUSIC . Suite Spot

Kimmel Vision

Peter Burwasser on Classical.


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Published: Dec 13, 2006

Five years ago this month, an 800-pound gorilla landed at Broad and Spruce streets, and the Philadelphia classical music scene was transformed overnight. Of course, the Kimmel Center presents a broad range of music types, as well as dance, but wherever the Philadelphia Orchestra finds a home naturally becomes a kind of classical music epicenter. That said, the Kimmel has managed, by design and earnest implementation of programs, to have shed the aura of exclusivity that wafted about the Academy of Music.

Timing is everything, and an interesting collection of musical personalities happened to be in confluence at the outset. The orchestra's incoming music director at the time, Christoph Eschenbach, seemed like a breath of fresh air, making the tearing down of audience walls the central mission of his tenure, including plenty of new music, and much more audience interaction. The other key tenant at Kimmel, the Philadelphia Chamber Music Society, had matured into a world-class music series by the time it arrived at the new Perelman Theater, under the leadership of Anthony Checchia and Philip Maneval, who have collaborated with their famous guests to produce programs of tremendous vivacity. Even the Chamber Orchestra of Philadelphia entered their new home with a fresh lease on life, as led by a dynamic new young conductor, Ignat Solzhenitsyn.

Of course there are problems, and they are not just musical in nature. Money is number one; Kimmel will never balance the budget with ticket revenues. Charity from both public and private sources will have to step it up, and I have no doubt that they will. Also, the design of the Kimmel has not opened the edifice up to the masses of the city, as was envisioned. Once inside, the space is captivating, even inspiring, but one must get past the banal and fortress-like Broad Street facade. This is not a situation that is likely to be addressed anytime soon, if ever.

The single most controversial element at the Kimmel has been the issue of acoustics, and this involves only Verizon Hall. There is a nearly universal consensus that the Perelman Theater, the smaller venue, is an acoustical gem.

For its main intended purpose, as a hall for symphony orchestras, I think Verizon is a notable success. There is a thrilling immediacy when a world-class orchestra is roaring away here. Interestingly, the best sounds I have heard here have been from visiting orchestras, including those of Berlin, Chicago and Pittsburgh. Our own orchestra still seems to be nursing a hangover from the Academy of Music days. But when it comes to smaller ensembles and soloists, Verizon may be too large. Solo piano recitals are much less satisfying here than they are in Perelman.

I'd be very curious to compare the sound of Verizon to the Academy of Music for something like a piano recital. For that matter, it would be nice to see the Academy given a stronger role in its partnership with the Kimmel. Let's face it: It is a minor miracle that the wonderful, exciting structure at Broad and Spruce was ever built in this stodgy town. But the Grand Old Lady at Broad and Locust, still one of the world's most beautiful halls, deserves a bit more respect.

(p_burwasser@citypaper.net)