Kirill Petrenko: just listen to the music, would ya?

 

Conducting the Berlin Philharmonic is arguably the most prestigious position in classical music. A few years ago, when rumours started to spread about Simon Rattle’s imminent departure, there seemed to be some sort of excitement -quite rare and- only reserved for special occasions in music. 

The bets began: there were some people that argued that the ensemble would choose a conservative director, specialized in the classic germanic repertoire from the 18 and 19th centuries, someone like Thielemann, Chailly or Jarvi; while others dared to shout out younger -and bolder names- like Dudamel, Harding and even Nézet-Séguin. No one managed to even mention the winner: Kirill Petrenko. 

Say that again? That was my first reaction. I hadn’t heard his name, and even when I’m ashamed to admit it, I was not alone. Petrenko was simply not well known among classical music circles.

However, that doesn’t mean Petrenko was not a fantastic musician. Born in Siberia, he moved to Germany and then decided to go to Vienna to study music. His professional experience is almost exclusively linked to opera houses: he began in Meiningen, then he worked at the Komische Oper Berlin, and finally in Munich.

Throughout these terms, Petrenko was hailed by critics and adored by the musicians, which may explain why the musicians at the Berlin Philharmonic, who vote to choose their leader, decided to go with this shy, short yet imposing man.

My initial reaction to when I found out about Petrenko’s appointment was disconcerting and certainly tainted with judgement and suspicion. How come arguably the greatest orchestra of the world decided to pick this unknown and allegedly press-adverse individual? Nonetheless, I must admit it wasn’t a fair assessment on my behalf.

When it comes to judge someone who is about to assume the most prestigious position in classical music we need to rely solely on our ears. I have heard very little from Petrenko’s music, but I have to confess I am hugely impressed by his take on Beethoven’s seventh and ninth symphonies, his Wagner’s Tannhäuser overture and Korsakov’s Scheherezade.

Let’s try and silence our relentless and unfair judges of our inner voices and allow our hearing to do the judging - the most accurate and reliable auditor of Petrenko’s conducting.