Stravinsky’s Hidden Treasures

“Agon” and “Mavra” are the colorful novelties, “The Rite of Spring” the visceral and radiant climax at this week’s installment of the Los Angeles Philharmonic’s monthlong Stravinsky festival. Under Esa-Pekka Salonen’s deeply focused leadership, all three works held a festive audience in thrall, in the Dorothy Chandler Pavilion on Thursday night.

The Philharmonic has never before programmed Stravinsky’s one-act comic opera of 1912, “Mavra,” and had only played the wondrous, late-period dance score “Agon” (1957) twice--once, under Michael Tilson Thomas in 1981, and twice with Pierre Boulez in 1996. “Rite of Spring” in recent seasons has become, through ever burgeoning orchestral virtuosity and Salonen’s unflagging gifts, virtually a signature for the Philharmonic.

As at the first program of the series, last week, this performance began with the composer’s thumb-nosing transcription of “The Star-Spangled Banner” and a few minutes of archival film, this one featuring, first, the late composition teacher Nadia Boulanger giving a characteristically astute appreciation of the composer, and then Stravinsky himself recounting the writing of “Rite of Spring” and his first presentation of the music to choreographer Diaghilev.

Given the diversity of musical content--”Agon (Ballet for 12 Dancers)” is musically serial, texturally sparse and intellectually dense; “Mavra” a Pushkin comedy utilizing a Russian story in a bel canto vocal style; and “Rite of Spring” an acknowledged 20th century masterpiece of unceasing power--one can hardly imagine a more fascinating Stravinsky program.

And the performances lived up to their promise.

Utter transparency and clarity marked the “Agon” reading, which moved like controlled quicksilver. With four young and vocally well-endowed singers from the Kirov Opera--soprano Irina Vasilieva, tenor Evgeny Akimov and mezzo-sopranos Anna Kiknadze Nadezhda Vasilieva (no relation)--”Mavra” entertained thoroughly, as it should.

One wonders why we have not seen the piece produced more often: It is the right length, the music is accessible and attractive, and all it needs is a strong and witty English translation to make it viable.

Using English supertitles above the stage was a good idea, yet they were hard to read, given the ambient light.

To conclude this absorbing evening, “Rite of Spring” again showed conductor Salonen and the Philharmonic players in their most inspired, concentrated and balanced condition. This in-the-moment performance has power, precision and ever more widening dynamic contrasts than it had in the past. Salonen coaxes from the players all the right dynamics--from enthusiastic (never raucous) loudness to near-inaudibility--all energetically focused. His control is breathtaking.

With every good reason, the audience erupted at the end in noisy approval.

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* The Los Angeles Philharmonic repeats this program tonight at 8 and Sunday at 2:30 p.m., Dorothy Chandler Pavilion, 135 N. Grand Ave., L.A., $10-$70. (323) 850-2000.