EMANUEL AX PLAYS MOZART : MONTREAL SYMPHONY AT BOWL AGAIN

Every so often, things go right at Hollywood Bowl--that is, as right as they can be under basically unfavorable conditions. Thursday night was one such occasion. The atmosphere was about as clear and dry as it ever is, the sound system was operating with a minimum of distortion and the performance of the Montreal Symphony conducted by Charles Dutoit could be appreciated at its full value.

Both conductor and orchestra maintain such consistent quality that the listener can relax in the confidence that matters will go exactly as intended. The preparation is so complete that hazards can be discounted in advance.

Not many orchestras or conductors can sustain that level of security. The security quickly comes to be taken for granted; the overall concentration is on the musical message.

Dutoit started by reminding us that Wagner is still a potent voice, sadly as he is neglected on concert stages these days, particularly at Hollywood Bowl.

The Swiss conductor charged the overture to “Der Fliegende Hollander” with vivid life. The music surged not in notes but in waves, mystery once again enhanced the diminished-seventh harmonies, Senta’s music glowed with the Wagner mystique, the sailors’ dance was depicted vigorously but with refinement. One could imagine what Dutoit might make of the complete opera.

The orchestra became an equally appropriate instrument for Bartok’s Concerto for Orchestra. Precision may be Dutoit’s first aim, but his imagination and his sharp ear for subtleties are on ceaseless alert. The “Game of Pairs” emerged as wittily as one ever heard it, the Elegy mourned without pathos, abundant virtuosity clarified the final Presto. The whole work has never sounded more gratifying.

Emanuel Ax elected No. 25 in C as his Mozart Concerto. It is a piece only Mozart could have written, yet there is no mystery as to why pianists generally avoid it. It has not quite the grace or the enchanting charm of the most inspired Mozart.

Ax played it dutifully, appreciatively, studiously, clearly, but with no great amount of felicitous tone. The style was correct enough without doing much for the wit or the zest of the piece. Ax played on a Falcone piano, which is not a Steinway. Dutoit and his musicians supplied an impeccable background.

Attendance: 9,522.