The opening selection for the evening’s program was the perfect choice! The Prelude to Die Meistersinger von Nürnberg heralded in a delightful repertoire of musical variety and contrast with a surprise encore that was received with exuberance. In Die Meistersinger von Nürnberg, the brass section, particularly the trumpets, did a masterful job, as if welcoming everyone to the second concert of the season. For those familiar with the opera, it took little difficulty to visualize the entry of the music masters and imagine the pedantic and vengeful Sixtus Beckmesser (modeled after a real life nemesis in Wagner’s life) who is about to adjudicate a music contest. The Prelude also effectively conveys the triumph of new ideas in musical composition over the staid rules of old, a Wagnerian hallmark. The orchestra was in fine fettle indeed. In Tchaikovsky’s Waltz from Swan Lake, we are transported to a world of wonder and enchantment. This is a fairytale at its musical zenith. The waltz focuses on the beauty and love in the drama and captures these elements wonderfully in the lilting melody. By contrast, Tchaikovsky’s Romeo and Juliet Overture – Fantasytakes us through the entire domain and emotional panorama of this romantic tragedy and ageless love story. The Fantasy, with its discordant and romantic melodies, progresses from feuding families, to star-crossed lovers, to murder, vendetta, death, redemption and resurrection, each with its own theme. The coda does not return to the music of the hymn-like introduction but to the melody of the star-crossed lovers above a somber timpani ostinato, suggesting a funeral, and finally the harp solo signifying ascension into heaven and eternal happiness for the two lovers, all beautifully performed. Tales from the Vienna Woods by “The Waltz King”, Johann Strauss, is a beloved chestnut of many repertoires and among one of the most popular of all Strauss’ 170 waltzes. This waltz is in ¾ time, with the unmistakable . . . ONE two three, ONE two three . . . It was featured in some lavish Hollywood musicals. With its intoxicating beat and the familiar waltz theme, I’m sure that some patrons with ballroom dancing experience had to restrain themselves from taking to the available floor in front of the stage. Leonard Bernstein’s West Side Story, is a modernized version of Romeo and Juliet but instead of feuding families in Verona, Italy, c.1600, this story is about feuding street gangs in mid-20th Century New York. The overture immediately establishes the key themes and moods of doomed romance in the midst of conflict. The performance was a medley from the Broadway musical; “America”, “I Feel Pretty”, “Maria”, “Tonight”, and others, with an eclectic mix of Mambo and Cha-Cha beats, Latin rhythms, Big Band sounds, jazz harmonies, blues and instrumentation. As in Tchaikovsky’s Romeo and Juliet, the harp solo at the end signifies redemption and with death, the realization of the pointlessness of a destructive rivalry. Like Strauss’ Tales from the Vienna Woods, it was with little difficulty that you could imagine a grand ballroom with elegantly dressed dancers swirling around the dance floor in Aram Khachaturian’s Masquerade Suite. The Waltz, rich of string sound and texture, soon brings in the woodwinds and timpani to create a colorful contrast with a rapturous rhythm that is all consuming. The haunting melody, with an almost macabre tone (reminiscent of Night on Bald Mountain), is captivating. The Mazurka makes such excellent use of opposing timpani that you soon notice you are swaying with the rhythm. The Galop is aptly named since horses immediately come to mind during this comic movement. Concertmaster Geoffrey Trabichoff rates well deserved kudos for his violin solos and virtuosity throughout the performance. His command of the symphonic selections was exceptional. He is the gold standard for the term “Concertmaster”. Guest conductor Clotilde Otranto’s spunky and animated style punctuated the theme and mood of each piece with her entire body, helping to bring them more fully to life. Maestra Otranto, although diminutive, conducts with authority and a baton that leaves no doubt about where she wants the orchestra to go. The encore selected was Rossini’s William Tell Overture. From the opening downbeat, this piece was an instant hit with the audience. While the overture was played with all the appropriate gusto it demands, I got the distinct impression that many members of the audience (this reviewer included) felt that the accompanying dialogue we/I grew up with whenever this piece was played in the pre-television era of old radio shows, was missing. Back then, a number of radio programs used classical music for effect and for many, the William Tell Overture became indelibly associated with one particular childhood hero. If only those of us who remember the halcyon days of radio could have also heard the voice-over: “Return with us now to those thrilling days of yesteryear! From out of the past, come the thundering hoof beats of the great horse, Silver! The Lone Ranger rides again!” this performance would have been perfect. Bravo Boise Philharmonic and brava Maestra Ortanto. © |
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