Symphony Hall, Springfield, MA
May 18, 2019
by Michael J. Moran
For the “grand finale” of their 75th anniversary season, the
SSO’s Music Director Kevin Rhodes paired a brand new piece written for the
occasion with two of the most popular selections in the classical repertoire,
one of which (Dvorak’s “New World” symphony) was performed in the SSO’s very
first concert on March 5, 1944. This retrospective focus also felt like a nod
to the recent passing of Rhodes’ SSO predecessor (SSO conducting years
1955-1969) Robert Staffanson.
The concert opened with the world premiere of the “Overtura
Rocambolesca” by the SSO’s own principal bass player, Salvatore Macchia. In a
pre-concert talk, the sometime composer and 40-year SSO member translated the
title as “rambunctious” or “celebratory” overture, not only for the anniversary
but for individual orchestra colleagues. The colorful 13-minute piece was
exuberantly performed, including virtuosic solo passages for new principal
flute (Ann Bobo) and bassoon (Yeh-Chi Wang) players.
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| Yevgeny Kutik |
The other star of the evening was Belarussian-American
violinist Yevgeny Kutik, who grew up in Lee, MA, in his third SSO appearance in
five years. What distinguished his riveting account of Tchaikovsky’s violin
concerto from those of other gifted young soloists was not just his mastery of
its stringent technical demands but his careful attention to its musical
details. He captured the dramatic mood swings of the long opening movement with
rare passion; his tenderness in the slow “Canzonetta” made it clear why Leo
Tolstoy wept on first hearing it; and his dark, weighty tone perfectly conveyed
the lumbering humor of the Russian dance finale. The enthralled audience gave
him the first of two standing ovations after the first movement!
The fresh energy which characterized the SSO’s rendition of
Dvorak’s ninth symphony after intermission confirmed Rhodes’ assurance in the
pre-concert talk that he never gets tired of conducting it. The solemn start
and lively main theme of the first movement have seldom sounded so intense; the
familiar “Largo” (later adapted as “Goin Home”) was hushed and radiant; the
scherzo movement was fleet and insistent; and the “Allegro” finale had
exhilarating sweep.
If the SSO’s April 27 concert (“Mozart and Mahler 2”) was
this season’s “first grand finale,” as Rhodes called it then, tonight’s
follow-up was fully its equal.
