The Orchestre Symphonique de Montreal ends its 1988-89 season this week, with five concerts at Hollywood Bowl. The prospect finds music director Charles Dutoit treading a line of affable contradiction between the demands of reality and politesse.
"The orchestra loves to be here," he says. "First of all, you see, we stay one week in the same hotel--it's not like a tour. It's really nice."
But then there are those concerts. "Well, OK, it's a bit difficult because we have four programs and very little rehearsal. These are the summer conditions in America all over the place, it's always difficult."
Dutoit is no stranger to Hollywood Bowl, having made his U.S. debut there in 1972. He was here with his Montrealers for a week in 1987, and is well-versed in the charms and the frustrations of the place.
"It's a fantastic location for summer concerts," Dutoit says, with his ready and persuasive smile. "The only thing that bothers me at the Bowl is these helicopter things flying overhead. The noise from the sky is sometimes really unbearable. Why do they permit this?"
After 11 years in Montreal, where he spends about 40% of his working time, be assured Dutoit knows his musicians well--and they him. More than two-thirds of them have joined the orchestra since he took over in 1978, creating a young ensemble that Dutoit has been able to mold into the prototype orchestra of the Digital Age.
"You mark the orchestra, you train the orchestra, and it's very gratifying to have an instrument of your own," Dutoit says. "On the other hand, after so many years, we know each other so well. It's like in a marriage--we know our good sides and our bad sides, there is less secrecy between us.
"I don't complain. I still enjoy very much working with my people, and I save a lot of time because they know my style, and I can do many, many programs with little rehearsal time."
Familiarity in this case has apparently bred affection, as well as a record-making machine with few peers in the classical market. Under the circumstances, Dutoit does not anticipate any significant career moves, though he is well-known to major orchestras around the world.
"You see," the 52-year-old conductor says, "I've been offered several orchestras in the last six years--at least five of them--in this country and in Europe. But, although these were good positions, somehow. . . .
