Boston Symphony Orchestra Regales with Ravel

Last Thursday, a crowd of smashingly dressed orchestra aficionados shuffled its way into Boston’s Symphony Hall, five minutes late and snatching last-minute snacks and champagne. It took conductor James Levine bursting through the upstage door to properly get their attention. With a red face and a shock of gray hair, the elated four-year Boston Symphony Orchestra (BSO) veteran hitched up one pant leg, propped himself up on a stool, and struck up a promising beginning to the Orchestra’s 127th season.

The evening’s plucky all-Ravel program featured four works by the 20th-century French composer. It got off to an energetic start with “Alborada del gracioso,” a brief selection whose title suggests the early morning serenade of a jester. The performance took full advantage of Ravel’s Impressionistic score, leaping into noisy climaxes and slipping suddenly into murky, bass-dominated string arrangements. Spirited castanets set off the piece’s Iberian influences, and a patient bassoon solo broke through the enthusiastic cacophony of metrical shifts and rhythmic switches. The piece dashed hurriedly to its climactic ending, setting a brisk pace for the remainder of the evening.

The second selection, “Shéhérazade,” shifted the atmosphere Eastward with lightly skittering strings backing the evocative melodies of mezzo-soprano guest artist Susan Graham. Graham carried the audience through the emotional narrative suggested in her performance of three poems, Tristan Klingsor’s “Asie,” “La Flûte enchantée,” and “L’Indifférent.” First wistful, then almost conversational, Graham engaged the audience with her poignant renderings of longing and succeeded in creating an air of mystery, although her performance was more suggestive than overtly passionate.

Pianist Jean-Yves Thibaudet brought his world-renowned skills to bear in a compelling performance of “Piano Concerto in G.” The first movement was quick and clear, highlighting Ravel’s jazzier inclinations and showcasing the orchestra’s collective virtuosity as it navigated extreme contrasts in volume and abrupt changes in melodic quality. The second movement’s lilting waltz kept a surprisingly brisk pace, making Thibaudet’s rare indulgent suspensions all the more effective. He maintained a steady sense of rhythm into the frenzied third movement, his lightning-fast technique never faltering as he continued to accelerate.

Moments of candid enthusiasm emerged during Thibaudet’s virtuoso performance in this third section, and his energy was contagious. Though Thibaudet was again serene and composed as he returned for a second bow, the bright-eyed Levine betrayed the palpable excitement on the stage.

The evening’s last piece was Suite No. 2 from Ravel’s longest work, the ballet “Daphnis et Chloé.” The musicians took liberties with tempo and dynamics that would likely have been impossible if dancers had had to keep up, but for the BSO, the piece was a fitting rollercoaster ride of an ending. The balance between the sections of the orchestra was precise in this piece, and the ensemble succeeded in producing a full and lively sound that evoked visions of the ballet’s pastoral, frolicking nymphs.

The pace of the evening was noticeably swift, making the show feel like a tour of Ravel’s work. Levine, the competent guide, was in his element as he drew from the composer’s varied repertory and led the orchestra in a crisp performance. Neat and unwaveringly professional, the program was deliberate and impressive. Sometimes raw exuberance would break through, and it was these moments that revealed that the Boston Symphony Orchestra is only improving with age.