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The Russians are Coming

Miami
Knight Concert Hall
02/18/2012 -  
Pyotr Ilyich Tchaikovsky: Festival Coronation March in D Major (*)
Sergei Prokofiev: Violin Concerto No. 2 in G Minor, op. 63
Sergei Rachmaninoff: Symphony No. 2 in E Minor, op. 27

Gil Shaham (Violin)
New World Symphony, Michael Tilson Thomas, Joshua Gersen (*) (conductors)


Gil Shaham (© Christian Steiner)



There is something mouthwatering about attending an all-Russian program; always melodic with some interesting dissonance to keep the mind alert; there is romance, there is grandeur, there is daring. When a program is all Russian, it can be as full as if one is hearing an opera without singers; many different moods.



The centerpiece of this program, Prokofiev’s Violin Concerto No.2 is the toughest. This is not a work filled with romance and comfort; there are sounds with which one might not feel entirely at ease on first hearing; thank goodness, yes, there are guts here. And though this concerto might not be lush like Mendelssohn, Beethoven or the popular Russians, it is completely accessible which accounts for its popularity. The first movement begins with what might seem like a melody from Anatevka’s fiddler, but moves into a pensive communication with the orchestra. Like the first, the second movement requires the orchestra to provide a subtle yet beautiful foundation to highlight the violinist at his most tender. In the last, the orchestra finally gets a chance to let go in a spikey sort of cat and mouse game with the soloist. There is tremendous good natured humor and an ending that can knock out an audience. The great Gil Shaham was the soloist. He is such an unpretentious performer that at times appears not unlike a caller at a barn dance; he all but dances to the music. But Mr. Shaham’s understated interpretation didn’t work here. The performance felt half-baked. His virtuosity is undeniable but this work requires an almost reckless abandon, especially in the third movement, which was missing. The orchestra though particularly supportive of Shaham, never captured the necessary spirit of the last movement.



The program concluded with the second symphony of Rachmaninoff. Those of us who are overly familiar with this piece on recording were thrilled to hear what Michael Tilson Thomas created with this always passionate orchestra. Themes that have been transcribed to television shows and pop music come across with a freshness that is rarely felt particularly by the wind section in the beloved third movement. In addition to Mr. Thomas we must thank youth itself, because this undoubtedly is the characteristic that keeps this orchestra so alert. It is exciting to hear unjaded performers exhibiting their artistic passions as they are on the verge of professional careers. How lucky they are to have a leader who though no longer a young man approaches his craft with the excitement of a beginner.



The evening was kicked off with Tchaikovsky’s Festival Coronation March. Joshua Gersen led this stately and exuberant opener mining a wealth of energy from the New World musicians.



Much has been written about the Knight Concert Hall’s architecture and acoustics since the Adrienne Arsht Center opened in 2006. There will always be opinions and debates. But as is often in most halls, the sound at the Knight is far superior when in the upper levels. Sitting exactly dead center in the Orchestra Circle, the sound tends to be flat. During this performance I was seated in the second tier which offered the warmest acoustics I have yet felt. Those who want to experience what this jewel of an orchestra is all about would be wise to get seats in a higher level. Even the upper reaches of the last balcony offer a richness one will not experience on the ground.



Jeff Haller

 

 

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