Yes, I heard some roughness, but it was in sloppily attacked wind chords in the last movement of Berg's Three Pieces for Orchestra. At the first performance of such a challenging program, no harm, no foul, at least when I'm not officially reviewing.
No, I would not describe Michelle DeYoung's voice as "silvery;" it has darkened considerably since I first heard her more than a decade ago in the Seattle Tristan. I last heard the Seven Early Songs performed three years ago at the Berkeley Symphony by another veteran of that production, soprano Jane Eaglen, who mangled the work.
DeYoung, by contrast, was a marvel, singing with a gorgeously-sustained line, exquisite shading, good enunciation, and plenty of specificity. I was struck by how close the songs were to the sound-world and emotional tone of Schoenberg's Gurrelieder, despite the vast difference in orchestral forces, Berg's chamber orchestra neatly achieving sonorities his teacher needed 110 players for. Oh, and she really did look fantastic; see the photos at Civic Center.
As for the Schubert, I liked the opening Rosamunde overture just fine, and MTT's style with the composer suits me better than it does sfMike. I hadn't heard the Unfinished more than a few times in the last 20 years, after playing it to death in college, and I'd never before heard it live.
Hoo boy. That is one scary piece, which I mean in a good way: terrifying, awesome, powerful....MTT definitely played it for drama, and succeeded in bringing a Brahmsian grandeur and intensity to the piece. I would have taken the second movement slower, but, honestly, I can't complain about any performance that leaves me holding my breath that way. Kudos to the winds and horns for magnificent playing in that movement, especially Carey Bell, William Bennett, and Robert Ward.
My only complaint was that after the sublime Unfinished, MTT just had to pick up the microphone and tell us, incoherently, all about the Berg. Way to break the spell, fella.