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Supuestamente, fue su último concierto al frente de la Filarmónica de Israel. Pero dejó la puerta abierta para un regreso.
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“Muchísimas gracias, es un honor, un placer increíble venir siempre aquí, con mi gran orquesta, a quien también le dedico este premio. La próxima, no sé cuándo será, pero hasta la próxima”, dijo visiblemente emocionado Zubin Mehta, en un castellano claro, luego de recibir una medalla como recordatorio de su paso por el Teatro Colón en manos de su directora general, María Victoria Alcaraz.
La batuta con la que Mehta dirigió esta noche no será la que el director entregue a su sucesor, el músico israelí Lahav Shani, porque el maestro decidió donarla al Teatro Colón.
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En ese clima conmovedor, pero sin melancolía ni tristeza, transcurrió el cuarto y último concierto de la gira de despedida, con el que a sus 83 años, Mehta se aleja definitivamente de la Filarmónica de Israel, tras cincuenta años ininterrumpidos al frente de la orquesta.
El programa estuvo enmarcada por dos obras luminosas: abrió la velada la Sinfonía Nº6, Pastoral, de Beethoven (se escuchó también en el primer concierto del ciclo), y se cerró con La Valse de Ravel.
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La segunda parte comenzó con el Concierto para flauta y orquesta en re mayor, del compositor alemán Carl Reinecke, con el talentoso flautista Guy Eshed como solista.
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La obra, compuesta en 1908, fue lo último que escribió Reinecke, una de las principales figuras musicales de Leipzig hasta su muerte en 1910. En su música se escucha la influencia de sus maestros, Mendelssohn y Schumann: con el primero comparte el lirismo y con el segundo rasgos orquestales románticos, particularmente en el manejo del color.
En su música se escucha la influencia de sus maestros, Mendelssohn y Schumann: con el primero comparte el lirismo y con el segundo rasgos orquestales románticos, particularmente en el manejo del color.
El sonido pleno y colorido de Eshed se proyectó apenas comenzó el primer movimiento, donde prevalece el diálogo entre el solista y la orquesta.
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De un fraseo tan flexible como expresivo, el flautista moduló a un tono más solemne en el siguiente movimiento. La orquesta dio el marco misterioso con el color que aportaron las cuerdas graves y los acordes sombríos en los cornos. Especialmente expresivo se escuchó el dúo entre la flauta y el violonchelo, poco después predominó en el clímax un tono dramático a escala sinfónica. Hacia el cierre del movimiento, sin embargo, la música se distendió, el solista calmó la tensión emocional, y todo concluyó en un tono amable.
El excepcional virtuosismo de Eshed se desplegó magistralmente en el triunfante movimiento final. La empatía entre el solista y la orquesta no podría haber resultado mejor. El flautista se despidió con un bis de una melodía particularmente meditativa.
El tono alegre de la despedida lo dio el clima brillante de La Valse. La música evolucionó hacia los episodios más arrebatados bajo el control gradual y cuidadoso de Mehta, aunque la música siempre mantuvo ese impulso volátil en lo subterráneo. La actuación, tanto de director como de orquesta, fue simplemente excelente. Mehta agradeció las largas ovaciones interpretando Por una cabeza, el único bis con el que concluyó la emotiva noche.
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