Ein Sturm war dem Konzert vorausgegangen, mit dem der englische Dirigent Sir John Eliot Gardiner am 7. Dezember in der Hamburger Elbphilharmonie, nach einer Pause von mehr als 15 Monaten, erstmals wieder vors Publikum trat. Wegen des auf den Namen „Darragh“ (irisch: alte Eiche) getauften Unwetters hatten das Orchester und der Chor des Dirigenten morgens nicht nach Hamburg fliegen können. Der Flug am Mittag verzögerte sich um zweieinhalb Stunden, die Musiker trafen 50 Minuten vor Konzertbeginn ein. Die Besucher wurden über die Wartezeit mit einem Glas Wein hinweggetröstet. Um 20.50 Uhr, um fünfzig Minuten verspätet, trat der 81-jährige Nuntius von Johann Sebastian Bach, gewandet in ein schwarzes Samtjackett mit rotseiden gerahmten Ärmeln, vor seine Musiker, und der Chor stimmte eine Art von Motto für den Abend an: „Schwingt freudig euch empor.“
Über den anderen Sturm, der monatelang vorausgegangen war, wurde während des Wartens kaum gesprochen. Bei einem Rundgang durchs Publikum war zu hören: „War da was?“; „Gab’s da nicht Krach mit einem Sänger?“; „Hat er nicht einem Sänger eine gescheuert?“; „Ach, das ist doch längst vergessen“. Ja, da war was. Nach einer Aufführung der Berlioz-Oper „Les Troyens“ in La Côte-Saint-André im August 2023 hatte der Dirigent die Macht auf ungebührliche Weise ausgeweitet und sich eines Deliktes schuldig gemacht, das in Deutschland strafbar ist: Körperverletzung durch eine Ohrfeige. Über das, was seinerzeit hinter der Bühne geschah, wurde in allerlei Versionen berichtet.
The fact that the maestro, who was inconsistent in a humor-pathological sense, lost the composure of a British sir, would probably have been dismissed two or three decades ago with the sentence that glossed over the abuse of power with an amusing punch line: “You can't be a good conductor and a nice guy .” Meanwhile, affectively incontinent desk hierarchs are considered dinosaurs. Gardiner withdrew. Whether it was his decision or the decision of his ensembles – the Monteverdi Choir, the English Baroque Soloists and the Orchester Révolutionnaire et Romantique – is as difficult to answer as the question about the cabal that led to the breakup of the traffic light coalition. Gardiner did not want to accept the role of a son lost to the music business. In interviews, he appeared to be the remorseful one who was horrified by his behavior and, thanks to therapy, found time to work on himself and grow. Such remorse reflected less regret about his own behavior – let alone what he did to the singer (and perhaps others) – than fear of damaging his reputation.
It's high. It is also higher than that of the ensembles he founded. The prestige of a special ensemble with mostly non-permanent and moderately paid musicians is based on the fame of solitary stars like Gardiner, who, as can be read in “Zeit”, ensures “a sound with a lot of horsepower” and comes up with interpretations, “that you have never heard before”. In the summer he founded the “Springhead Constellation”. It consists of a vibrant collective of “musical ensembles, creative artists and makers” who have made it their mission to “redefine 21st century artistry and advance interdisciplinary regeneration.” This must be a traffic light of progress in the realm of the arts.
As “flagship groups”, the Constellation Orchestra and the Constellation Choir met in Hamburg on December 7th for a concert, which will be performed again on the 14th with the same program: then with the Monteverdi Choir and the English Baroque Soloists under the direction of French conductor Christophe Rousset, who also took over the program as Gardiner's successor. Since the program booklets laudably mention orchestras not only as a collective, but also the musicians by name, it was clear that a number of “Constellation” names from the Monteverdi ensembles are known.
This, the author of “Zeit” concluded, must lead to a showdown in the Elbphilharmonie: “between those who value art above all else, the die-hard Gardiner fans, and those who say that artists also have a social, a moral one Responsibility”. As director of the Elbphilharmonie, Christoph Lieben-Seutter, based on his long experience, reacts to these trumpet sounds of moral tribunals with an eloquent, silent smile.
The audience enjoyed a ceremony that seemed anachronistic. It saw a small, predominantly female orchestra on the huge podium. It listened to a softly quiet, finely chiselled sound. They were enthusiastic about the delicate, silvery little girls' voices in the soprano and alto arias. After 85 minutes of music with two cantatas by Johann Sebastian Bach and Marc-Antoine Charpentier's “Messe de minuit” for four voices, flutes and violins, the conductor was able to enjoy the applause.
He thanked us in German for the pleasantly gently intoned standing ovation with warm, certainly well-considered words. “I would like to thank you all, dear audience, for coming today and for giving me and my ensemble such a warm welcome.” After wishing for a peaceful Christmas, the eighteen members of his choir sang the Christmassy “Es ist ein Ros' sprung” to. Gardiner wiped tears from his eyes, hugging some of his musicians. What a successful “resurrection”.
