< Back to Archives
The Virginian-Pilot
May 8, 2006
Clean, energetic symphony performance proves uplifting
BY LEE TEPLY CORRESPONDENT • Reach Lee Teply at lteply@odu.edu.
The Virginia Symphony Orchestra was again in fine form Saturday evening when it presented music of Bartok and Beethoven at Chrysler Hall. Music Director JoAnn Falletta was in complete control of a program that had challenges, and, for the most part, the musicians matched her command of the music.
Bela Bartok’s “Dance Suite” was composed in 1923 to commemorate the 50th anniversary of the unification of Buda and Pest as Hungary’s capital. In this 20-minute piece, several sections based on folk songs and dances are tied together with little pause between them. It is an effective symbol of the bonds between the “new” city’s people.
Falletta is a master at making sense out of such a varied score, and her flexible tempos and smooth transitions felt perfect. The orchestra, playing cleanly throughout, gave every bit of energy the piece required, right up to the crashing final chord.
There were some other anniversaries to celebrate when, after intermission, those musicians marking significant milestones with the symphony received gifts and the appreciation of the large audience. The last one honored, with an impressive 40 years with the orchestra, was principal timpanist John Lindberg.
Then came the reason so many people were in the hall: Ludwig van Beethoven’s Ninth Symphony, a unique composition that follows a fascinating path to its glorious conclusion. It almost never disappoints, and it certainly didn’t this time.
It helped that tempos were on the fast side but usually not too fast to allow for clarity in the details. Falletta defined the structure of the long first movement particularly well. In the rhythmically punctuated scherzo, she maneuvered through its peculiar transitions with confidence.
At first, it seemed wise to move the slow movement along, but instead, the music was not really allowed to breathe naturally. As good as it sounded, the orchestra never achieved that sublime serenity that is such a part of the late Beethoven style.
Even though everyone knows what is going to happen in the fourth movement, it is still a remarkable moment when Beethoven first treats the instruments like voices and then adds actual voices to what had been a relatively traditional symphony.
Bass Kevin Deas had a commanding presence as he interrupted the orchestra for the first time. As other singers joined, the ultimate goal was the inclusion of the Virginia Symphony Chorus, which had been superbly prepared by Chorus Master Robert Shoup.
Falletta’s pacing heightened the drama, building to each climax and backing off to strengthen the next one. The Turkish march section was crisp and orderly although the characteristic percussion seemed too far in the distance.
The counterpoint of the two fugues was clearly audible, and the invocations of the Heavenly Father were truly moving. The wild dash to the finish was all that was needed to bring the audience to its feet. Once again, there was no denying the uplifting power of this music.
# # #
The Virginia Symphony Orchestra with a complement of 79 professional musicians under the direction of Grammy-nominated Music Director JoAnn Falletta performs 140 concerts annually, reaching 200,000 concert goers every season in venues throughout the region. Our education and outreach programs reach 53,000 students and adult learners every year. The Virginia Symphony Orchestra is the cultural cornerstone of the performing arts in Hampton Roads.
|
 |
