This is not a review (or is it): Zubin Mehta at L'Auditori

No, indeed, this isn't a critique. Or is it? Could it be, given the context of the honoree? Let's take it step by step.

Sometimes, with colleagues in journalism and music criticism, we discuss or debate the meaning or purpose of a critique. And we agree that this argumentative exercise should never be a judgment, but rather an invitation to reflection, based on a performance, a book, or a musical score. An invitation accessible to the reader, so they can understand the codes that have operated on that play—whatever its genre—that film, that reading, or that concert. It's clear that there are ephemeral arts that, like music or theatrical performance, are no longer the same when a spectator attends on a different day than the critic. So, is criticism useful at all?

One thing is clear: at this point, any criticism won't affect the music director Zubin Mehta (Bombay, 1936), because he has already done everything and no longer needs to prove anything to anyone. But it is true that Barcelona has always welcomed him with open arms. And BCN Clàssics opening the doors of L'Auditori to pay tribute to him was so moving that one wonders if one will ever have the opportunity to see Mehta live again.

Monday evening was also a powerful statement, because Mehta had a sensational violinist like María Dueñas at the service of the Concert No. 1 by Max Bruch. That is to say, the Indian-born conductor had a young voice by his side, a woman who guarantees the continuity of great violin performers, days after Barcelona hosted another great violin reference like Joshua Bell and a week after the concert with Pinchas Zukerman.

More of a statement of principles, because Mehta, who years ago stood on the podium with the Israel Philharmonic Orchestra, now had the West-Eastern Divan Orchestra, created by Edward Said and Daniel Barenboim to promote the peace process between Jews and Palestinians. A solid ensemble, which handled the Fourth Symphony by Tchaikovsky and kicked off the evening with the ever-controversial Richard Wagner (in an orchestra made up partly of Jewish musicians!) and the opening of his third opera, Rienzi.

The most important thing, without a doubt, was having Zubin Mehta, who has always known how to be in his place: media-savvy but never frivolous; elegant and with the wise measure of the elders, with clear gestures, from the classic school and at the service of a job well done. Namaste, teacher!