The Rochester Philharmonic Orchestra on Thursday performed a
rare, Baroque-heavy program with holiday overtones, and the results were close
to perfection. Guest conductor Michael Christie — Minnesota Opera Music
Director since 2012 — has crafted a smart, cohesive, and accessible playlist of
mostly Italian masters, and in the process, has presented the RPO in a new, refreshing
light.
Giovanni Gabrieli’s “Canzon per sonar septimitoni a 8” — one of two compositions receiving their RPO
premieres this week — invoked the intimacy of chamber music with two separate
quartets comprised of trumpet, clarinet, horn, and trombone, which flanked the
orchestra on either side of the stage. There is something about the
call-and-response of antiphonal music that is both intrinsically merry and magisterial.
While most of the piece was marked by precision and clarity, some notes proved
somewhat unwieldy, with occasional moments of flubbed attacks and iffy
intonation detracting from what was an otherwise ideal concert opener.
Rather than perform each violin concerto of Antonio
Vivaldi’s “The Four Seasons” consecutively, Christie chose to alternate between
the seasonal concerti and other Baroque works that corresponded with the
appropriate time of year. Alessandro Scarlatti’s “Glory of Spring Overture” — with
its brisk tempo and stately demeanor — was sandwiched between “Spring” and “Summer.” The supremely elegant “Christmas” Concerto
in G Minor by Arcangelo Corelli preceded “Winter.”
Christie’s approach as conductor was almost minimalist. The
antithesis to ostentation, he emphasized subtlety and sensitivity to
articulation over outsized gestures and grand, sweeping phrases. The chamber
orchestra assembled — as led by Christie — knew when to blend seamlessly with
concertmaster and Vivaldi soloist Juliana Athayde,
and conversely, when to take a back seat.
With pristine tone and exquisite control, Athayde projected quiet charisma, and her virtuosity shone
with abundance, without upstaging the musicians behind her. During “Summer,” Athayde traded lithe,
cascading runs with the orchestra that were nothing short of dazzling. The
inspired interplay between Athayde and principal cellist
Ahrim Kim had revelatory, raw energy to it — later
taken up by the entire ensemble. Deftly oscillating between delicacy and
aggression, the RPO delivered a nuanced, poignant performance of the first
order.
Closing with W.A. Mozart’s Symphony No. 41, also known as
“Jupiter,” Christie and company maintained the fresh immediacy of the previous
selections. Christie’s facility with the full range of dynamics injected a
particular vibrancy into Symphony No. 41. Phrases popped, and articulations had
extra bite.
In the second movement, “Andante cantabile,” Mozart was at
his most lyrical and Romantic. Warm, mellifluous melodies moved with serpentine
fluidity. It made me wonder what Christie might do with the music of
Tchaikovsky.
As a whole, this was an exquisite performance from the RPO.
There was a noble and triumphant air throughout — a great fit for the holidays.
But perhaps most importantly, the orchestra played with a robust edge, a clear
sign of the RPO at its best.
This article appears in Dec 13-19, 2017.
