Evgeny Kissin’s Well-Tempered Perspective Series at Carnegie Hall
Pianist Evgeny Kissin, concluding the Perspectives series at Carnegie Hall’s 125th anniversary season – which also celebrated his illustrious pianistic solo debut here 25 years ago – wooed audiences once more with Rachmaninoff’s beloved Piano Concerto No. 2, before taking a previously announced leave of absence from concertizing in the USA. The concert amounted to a farewell observation on the series’ narrative, revealing the artist’s uniquely personal artistic journey.
This article was published by the author on Blogcritics
Since that memorable Carnegie Hall debut, with people waving hundred-dollar bills to scalp a ticket on mobbed street blocks around the sold-out concert hall, New Yorkers’ enthusiasm for Kissin does not seem to have diminished in the least. Coming out of the Soviet Union as a prodigal talent with staggering musicality, his reputation had preceded his eagerly awaited appearances before both Russian and world audiences; and perhaps like no other, this pure Romantic has united them in an ecstatic communal sense.
It was Carnegie Hall’s centennial season, 1990-91, and Kissin, age 19, was – as in the current season – the notable opening act, one of the very few artists who had never had to ask, “How do you get to Carnegie Hall?”
He simply arrived, and performed annually from then on.
“What makes a performance great?” I once asked him, and he simply remarked: “It has to be convincing.” Carnegie Hall initiated its Perspectives series in 1999 to further explore the complexity of what makes an artist great by showcasing leading artists’ individual interests and bringing in their musical friends. The previous pianist the series focused on was Sir Andràs Schiff in 2011-12.
This season’s in-depth close-up opened channels of discovery into Kissin’s enigmatic persona and vocation on stage, in five different programs.
Beyond bringing some of the musical milestones of Kissin’s career full circle, the series portrayed the artist who at 44, unabashed by the persistent trail of Wunderkind status, has proven he can carve out new paths of artistic growth and a remarkable personal departure. His choices of programs are always “a matter of love,” and it is the kind of intimate, sanctified love that does not warrant further conversation. Notwithstanding his free spirit he feels: “Talking about all kind of things including sex, is great fun – talking about music seems vulgar.”
Knowing how close to his heart his programs are – he usually spends a full touring season with each one – one had to wonder why Chopin, with whose concertos the pianist skyrocketed to stardom and who, as Kissin confesses when pressed on the subject, is the closest to his heart, would not appear in any of his featured programs. Bookending the series with two of the arch-romantic Tchaikovsky and Rachmaninoff concerts, Kissin instead curated his classical solo recitals with works by Mozart, Beethoven, and Brahms in conjunction with the Spanish composers Albéniz and Larregla. Highlighting his extraordinary temperament en galore with the Spanish rhythmic idiom added a most welcome geographic twist to the Germanic precursors. The recital program, which was performed twice that same week in November, was legendary not only because his “Appassionata” was nothing short of a revelation, but because a repeat performance of the same repertoire, selling out the house twice in a row, had till then been a feat achieved only by Vladimir Horowitz, in 1979.
No one present at Kissin’s concerts, least of all the performer himself, would suspect that concert halls are scrambling to fill their seats at many other quality concerts. Least of all at the truly stirring season’s opening concert, with red carpets rolled out for the occasion all across 57th street.
Carnegie Hall 125th Season Opener Photo: Ilona Oltuski - GetClassical
On the day following his evening of Yiddish music and poetry, Carnegie’s Executive and Artistic Director Clive Gillinson moderated – at the associates’ level ticket price – a public tête-à-tête on stage, where Kissin appeared relaxed and personable. He humored the audience with anecdotes about Prokofiev and his first meeting with Karajan, as well as his strong-mindedness when it comes to conductors who don’t share his vision. He also recalled some of his earlier years, when his revered only mentor through all these years, Anna Kantor, moved in with the Kissins, following them on their path from Moscow to New York to London.
Turning 93 now, Kantor stays a vibrant member of Kissin’s family, and hers continue to be the ears he trusts the most; until recently she was an integral part of his concert touring entourage and it speaks for their deeply reverent relationship that the pianist continues to play new repertoire through for her.
Evgeny Kissin with Anna Kantor.
Photo: Ilona Oltuski
Perhaps the least successful program of the series was Kissin’s much anticipated novel partnership with violinist Itzhak Perlman in a trio performance with Kissin’s longtime collaborator, cellist Misha Maisky.
It was almost surprising that the performance lacked a persuasive harmonious flow of leadership and balance, given the great musicianship of all these artists individually. Perlman’s melodic lines especially seemed to get lost at times acoustically, flanked by Maisky’s and Kissin’s powerful virtuosity.
In contrast, Kissin’s Yiddish evening was in some ways the most significant program of the series. Kissin’s passion project of Yiddish poetry recitation and music by rarely performed Jewish composers illuminated the deeply personal context of his engagement with Jewish culture. The fascinating presentation touched audiences on many levels, highlighting Kissin’s capacity and courage to explore new artistic frontiers. This was the case with works by Ernest Bloch, Alexander Veprik, Alexander Klein, and Mikhail Milner, with which Kissin ventured into modernist and folklore-inspired tunes off the beaten path.
With his nuanced and melodic declamation of poems in the Yiddish idiom of Yitzhak-Leybush Peretz, Kissin captured the lyrical elements and aura of the language with its particular humor and spirit, transporting the transfixed audience into the bygone era of the shtetl. Soulfully baring his heart in every syllable, the magnetic performer – stripped of all his virtuoso veneer – sufficed to fill the hall, momentarily halting time. As in Kissin’s own poem, the evening’s credo points to celebrating our intrinsic individualism, which, if painful to bear at times, brings fulfillment through truth to ourselves. Ani maymin Credo Translation by Barrnett Zumoff Shoyn Terekh hot gezogt zayn kleynem zun mit shrek: After Terah* said fearfully to his young son: “Far vos bist nit aza, vi ale?”. “Why are you not like all the others?” Un s’iz geven azoy in yedn kant un ek, into which our brutal fate cast us.and it was so vuhin di dolye undzere brutale in every nook and cranny flegt undz nit varfn. S’iz dokh undzer koved, It’s to our honor, after all, vos tomid zaynen mir geven getray tsu zikh that we have always been faithful to ourselves, un hobm ot di khokhme oysgekovet: and have forged this wise saying: “Ven ikh vel zayn vi yener, ver vet zayn vi ikh?”. “If I am like the others, who will be like me?” *Abraham’s father
This bent of Kissin’s talent was earlier introduced on a smaller scale at New York’s Yivo Institute and at his momentous debut at Charles and Robyn Krauthammer’s Pro Musica Hebraica series, at Washington’s Kennedy Center in 2014; but it was a first at Carnegie Hall, drawing New Yorkers into Kissin’s other personal passion. (See my article about Evgeny Kissin on a mission to celebrate his Jewish heritage.)
Photo Credit Ilona Oltuski: Simon Wiesenthal hugs Evgeny Kissin after his YIVO Yiddish poetry reading.
For the very first time in 2002, during Verbier’s prestigious festival in the Suisse Alps, the festival’s director Martin Engstroem encouraged Kissin to recite Russian and Yiddish poetry as an extracurricular presentation on stage. Kissin agreed, but only if other artists would participate as well. The ones who had confirmed, among them Zubin Mehta, had to pull out at the last minute leaving Kissin “to wet his feet,” as he recalled. What a happy coincidence it turned out to be, bringing his previously private predilection into the spotlight. Almost no trace remains of the admitted former “painfully shy” mannerisms of his younger years. No matter how long the line of beleaguering fans may be, he happily obliges with oddly composed courtesy and at times touching generosity.
Photo: Ilona Oltuski - GetClassical
Kissin Fans crowding
For Kissin, the Yiddish language represents an important cultural territory of the Jewish people. On a personal level it became a reminiscence of his childhood, and peaceful summer months spent at his Yiddish-speaking maternal grandparents’ datshka.
During his childhood, Kissin was made aware of anti-Semitic sentiments; derogatory slurs were not unusual. Not yet aware of Israel’s existence, Kissin envisioned himself uniting with his people, as a grownup, in Birobidzhan – the Russian territory with an official Jewish status, which became a center of Jewish culture at the time it was founded under Stalin, in 1934.
Evgeny Kissin with Martin Engstroem in Verbier. Photo: Ilona Oltuski
When we met at his first solo concert in Jerusalem the following year during his commanding Liszt tour, he was engulfed in the topic. (In 1988 he went on his very first trip to Israel with the Moscow Virtuosi Orchestra.) Performing in Jerusalem meant the world to him and he matched his sentiment with a dramatic biblical stance: “Im Eshkachech Yerushalayim Tishkach Yimini (If I forget thee, O Jerusalem, let my right hand be forgotten).” Despite not living in the Promised Land himself, he initiated action to fully demonstrate his allegiance: in December of 2013 Kissin took on Israeli citizenship. His evolving sense of Jewish identity certainly plays a decisive role in his creative discoveries within its history, language and music and beyond that in Israel’s modern-day crisis. During one summer at the Verbier festival, Anna Kantor, concerned about this (to her mind) superfluous extracurricular activity, turned to me, remarking: “Ah politics, who needs politics…he should sit and play the piano.” I am certain the sentiment is shared by many, who would prefer an artist being removed from anything that could view the man and citizen behind the artist. Alas, despite his performance schedule of about 40 concerts a year worldwide, Kissin’s creativity obviously requires many different stimulating outlets, certainly feeding his extraordinary imagination at the piano. Just some days after his Yiddish recital, we met over tea and he brought the newest chapter of his novel. In his steadfast timbre, Kissin read it out loud in one sitting. He did not touch his tea. He was excited to share his modern-day drama depicting an opera-inspired Russian heroine’s suffering with deep sentiment, in a pictorial and captivating style. Here is an excerpt: From the novel by Evgeny Kissin, translated by Barrnett Zumoff
Book 1: Outside It Was Snowing The smoke from the cigarette was beginning to mix with the emanations from the Indian aromatic sticks. There was no ashtray in the house, so the cigarette ash fell on the floor immediately after each light tap of her finger. She kept slowly and deeply inhaling the smoke, filling her entire body with the mild poison; oh well – the deed is already done, so relax and calm down. Three thoughts kept drilling into her mind: “Sasha, my darling”…”I’ll get the money as fast as I can!” …and “Now I‘ve really become a whore – I’ve lived to see the day!” “Man proposes and God disposes,” her wise grandmother Chana used to say. Her grandmother’s words had sounded convincing to her even then, though she was still a child and of course couldn’t understand what they meant. Now, in the past few days, she somehow understood them with her whole being, from the tips of her fingers to the depths of her soul, perhaps as never before in her life. When she was still a young girl and had just begun to discover the world of pleasure, she used to fantasize about taking money for love. For instance, a nice man she liked would come to her and propose to spend time with her, and she would answer him playfully: “If you pay!” Now, however, she didn’t get to choose only nice clients…
Five months did go by after the Russian heroine of his novel appeared, and reverberations of sentiments stirred by Kissin’s Rachmaninoff’s Piano Concerto No. 2 slowly filtered through the hall. Nothing less had been expected from a moving farewell concert by Kissin, with the Metropolitan Opera Orchestra. For this final concert of the series, Kissin reunited with his longtime colleague James Levine, who, as the Met’s leading force for 45 years, has just announced his final bow as music director.