The concert, as always, opens with an orchestral version of the Dominican anthem. The first piece, Berlioz?s Roman Carnival Overture, sort of served as a warm-up piece for the orchestra to get in tune. The piece is obviously programmed to commemorate Berlioz?s bicentennial. Then comes the biggie: Beethoven?s ?Emperor? concerto.
The soloist, David Allen Wehr, is on the piano faculty of several US universities. His playing, while solid, does sound ?academic?. The whole first movement has a very tentative and cautious feeling, as if the Emperor had qualms about having no clothes on. Wehr?s technique is solid, his posture natural and his tone rather pedestrian. The Steiway piano on stage, as far as I always recall, has an unpleasant ?clatter? that gets amplified whenever somebody bangs on it. Mercifully, Wehr is not a banger. There are occasional ensemble problems with the orchestra and the French horn player(s) were the worst offenders. Their every entry was notable, ironically, because of their glaring misfit. Wehr?s interpretation is four-square with almost no rubato. One can practically count 1,2 3,4? with his fixed rhythm. There is very little grandeur to speak of. The whole first movement approximates a big Czerny etude with orchestral accompaniment.
I was about to fall asleep in the tranquil second movement when Wehr jumps start the Finale with a dash. Werh finally unleashes the momentum he had held back. Now the piece suddenly leaps into life. Unfortunately, about two-third through, a slight finger slip causes him to derail for several bars, threatening to bring the piece to a half. Bravely he recovers and gets back on track and finishes off the piece in glory.
After intermission, the second half starts with a hauntingly beautiful but brief ?Swans of Tuonela?, a juvenile symphonic poem by Sibelius. The solo oboist is rightly seductive and plaintive in its delivery. Probably the best performance of the night.
The concert ends with Ravel?s boisterous Bolero. In almost 15 minutes of infinite repetition, Ravel drills the theme home through various instrumental give-and-take. The solo drummer, who tapped non-stop with his right hand alone for nearly 10 minutes, was the star attraction. Most of the other orchestral members, alas, were not as precise. The piece sounded desultory under Piantini?s direction. They probably didn?t spend much time in rehearsal. In a piece so well-known as this, imperfection is obvious even to casual ear.
Nevertheless, it was by and large an enjoyable concert to give off the season. If any added incentive is needed, free Dewar?s 12-year scotch whisky was liberally poured pre- and post- concert, with lines stretching long during intermission. If you get in with RD$50 (the cheapest ticket range), the drinks along were probably worth it.
I will report back on upcoming concerts as it they come along.
The soloist, David Allen Wehr, is on the piano faculty of several US universities. His playing, while solid, does sound ?academic?. The whole first movement has a very tentative and cautious feeling, as if the Emperor had qualms about having no clothes on. Wehr?s technique is solid, his posture natural and his tone rather pedestrian. The Steiway piano on stage, as far as I always recall, has an unpleasant ?clatter? that gets amplified whenever somebody bangs on it. Mercifully, Wehr is not a banger. There are occasional ensemble problems with the orchestra and the French horn player(s) were the worst offenders. Their every entry was notable, ironically, because of their glaring misfit. Wehr?s interpretation is four-square with almost no rubato. One can practically count 1,2 3,4? with his fixed rhythm. There is very little grandeur to speak of. The whole first movement approximates a big Czerny etude with orchestral accompaniment.
I was about to fall asleep in the tranquil second movement when Wehr jumps start the Finale with a dash. Werh finally unleashes the momentum he had held back. Now the piece suddenly leaps into life. Unfortunately, about two-third through, a slight finger slip causes him to derail for several bars, threatening to bring the piece to a half. Bravely he recovers and gets back on track and finishes off the piece in glory.
After intermission, the second half starts with a hauntingly beautiful but brief ?Swans of Tuonela?, a juvenile symphonic poem by Sibelius. The solo oboist is rightly seductive and plaintive in its delivery. Probably the best performance of the night.
The concert ends with Ravel?s boisterous Bolero. In almost 15 minutes of infinite repetition, Ravel drills the theme home through various instrumental give-and-take. The solo drummer, who tapped non-stop with his right hand alone for nearly 10 minutes, was the star attraction. Most of the other orchestral members, alas, were not as precise. The piece sounded desultory under Piantini?s direction. They probably didn?t spend much time in rehearsal. In a piece so well-known as this, imperfection is obvious even to casual ear.
Nevertheless, it was by and large an enjoyable concert to give off the season. If any added incentive is needed, free Dewar?s 12-year scotch whisky was liberally poured pre- and post- concert, with lines stretching long during intermission. If you get in with RD$50 (the cheapest ticket range), the drinks along were probably worth it.
I will report back on upcoming concerts as it they come along.
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