He and pianist Kathryn Stott performed repertoire that's core, not-so-core, and mesmerizing.
, the classical cellist was the gentle hand of an art form ushering in new generations. He’s still a reliably big draw at opening night of any orchestra. And he’s blithely hopped walls between genres. No classical artist has been more gregarious.
“Speaking truth to power,” Ma suggested to the Verizon Hall audience, is what Shostakovich’s Soviet-erawas about. Whether Ma was speaking historically or perhaps referring to the recent death of Alexei Navalny in Putin’s Russia wasn’t clear, but the work brought the best moments in the recital. Many in the audience fidgeted in their seats, not totally with the music. Maybe they came for something else , but repertoire is almost always a give and take, and it seems likely that something in Shostakovich’s depths or the quick, sardonic final movement made an impression., from 1978, had an accessibility factor no more challenging than a meditation session, with its slow, mesmerizing, major-key journey . And yet there was an unbelievable amount of coughing in the audience.
But in a set of short opening pieces — by Fauré, Nadia Boulanger, Dvořák and Sérgio Assad — Ma and Stott gave glimpses at various aspects of their personalities.
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