Supporting the Arts in Western Massachusetts and Beyond

February 17, 2020

REVIEW: Hartford Symphony Orchestra, Romeo and Juliet

Hartford Symphony Orchestra, Hartford, CT
February 14-16, 2020
by Michael J. Moran

For the fifth Masterworks program of its 76th season, HSO assistant conductor Adam Boyles selected four works by three 20th-century composers and one 21st-century composer to observe Valentine’s Day weekend from diverse perspectives.

Like last month’s, this concert also opened with two HSO premieres. First came young Guyanese-British composer Hannah Kendall’s 10-minute 2017 tone poem “The Spark Catchers.” Inspired by Lemn Sissay’s 2012 poem of the same name, the title refers to how “matchgirls” in 19th-century London caught wayward sparks when making wooden matches.

The vivid score closely follows the poem’s text, printed in the program book, and Boyles and the orchestra captured its festive spirit with gusto (as the HSO continues innovating with technology, it was instructive to watch a frontal view of Boyles projected behind the Belding stage during this piece).

Scott McIntosh
Next up was French composer Henri Tomasi’s exuberant but rarely heard 1948 Trumpet Concerto. HSO principal trumpet Scott McIntosh made dexterous use of two mutes to shade his rich, clear tone from bright to smoky in the mercurial opening “Allegro & cadenza,” bluesy “Nocturne,” and rambunctious “Finale.” Conductor and ensemble offered lively accompaniment.   

McIntosh then took a looser, jazzier approach to Walter Gwardyak’s lush arrangement of “My Funny Valentine,” from the 1937 show “Babes in Arms,” by Richard Rodgers and Lorenz Hart. His opening duet with principal bass Edward Rozie, Jr. was especially fun.

The program closed after intermission with a brilliant account of excerpts from Prokofiev’s 1935 ballet “Romeo and Juliet.” Unlike many other conductors who present this music, Boyles followed the sequence of movements in the full ballet rather than reshuffle their order for dramatic effect. His selection was also far more generous (a full hour) than usual.

This was easily the finest performance yet led by Boyles since he began his HSO tenure three years ago and one of the best ever by all the musicians, with whom he has clearly established a deep and warm rapport. They responded to his clear, dynamic leadership with playing of technical polish and profound emotion. Highlights among the 18 selections were: an ardent and sensuous “Balcony Scene;” a viscerally terrifying “Duel” (between Tybalt and Mercutio); and a meltingly compassionate “Juliet’s Death,” with its perfect closing notes of consolation and hope.