Here’s the review posted at kitsapsun.com/entertainment from the March 21 performance by the Bremerton Symphony:
I’ve not been in the habit of reviewing concerts or other events
of a “one-off” nature — something that happens only once, and
doesn’t afford another opportunity to be taken in, no matter how
strongly I might endorse it.
However, the March 21 “Solostimmen” program was my first chance to
see the Bremerton Symphony perform since the removal of music
director Elizabeth Stoyanovich in January. So it bears a little
rehash.
I passed on the Symphony’s February program — not because I didn’t
want to go, but because I was floored by a case of the Crud (that
actually should be spelled with a capital CRUD), and I didn’t think
anyone would appreciate me showing up in that condition, even if I
had been able to navigate my fevered self there.
It won’t come as a surprise to anyone who’s followed the Symphony
with any interest, but it’s still a great joy and a great relief to
be able to relate:
The Symphony continues to be the usual great night out at the
Bremerton Performing Arts Center.
In the case of the evening in question, that’s due in large part to
the appearance by cello wunderkind Joshua Roman, whose performance
of Tchaikovsky’s “Variations on a Rococo Theme” sounded rich and
passionate, even though it looked effortless. It’ll be one of the
highlights of my year to be able to say that I saw him play at all,
let alone here, with our hometown heroes. If he’s not a
one-of-a-kind talent, he’s as close as many of us are liable to see
in our lifetimes, at least within a mighty stone’s throw of our own
front porches.
But Roman’s presence was just part of the fun. The solid backing he
received from guest conductor Alan Futterman and a cast of our
local volunteers crowding the stage added tremendously. And when
the Symphony returned apres intermission and sans Roman for a
rock-solid run through Shostakovich’s wickedly, mischieviously
difficult Ninth Symphony, eyebrows raised and smiles widened even
farther.
I have to admit I was a little worried after the opening piece on
the program, the second of J.S. Bach’s Brandenburg concerti, which
is scored for and was performed by a chamber-sized, Baroque-style
unit, fronted by a quartet of soloists — Concertmaster Blanche
Wynne, principal flute Anna Schroeder, principal oboe Amy Duerr-Day
and principal trumpet Dean Wagner.
While the solo parts were performed anywhere from bravely to
brilliantly (particular kudos to Mses. Schroeder and Duerr-Day), I
thought the support sounded a bit thin, particularly in the
strings. By no means unlistenable, just a bit thin.
Reinforcements arrived — lots of them, the onstage numbers nearly
doubling — for the Tchaikovsky and Shostakovich, which both were
pretty nearly redoubtable. Both afforded plenty more opportunities
for Symphony members to show their talents, solo-style, with
William Ferman’s clarinet, John Sullivan’s piccolo and Brian
Rolette’s bassoon all leaving particularly favorable
impressions.
Futterman presided effectively and affably, even taking up the
microphone a couple times to revisit portions of his pre-concert
chat prior to the Shostakovich. Even with his catechism, its abrupt
climax caught many concert-goers by surprise, possibly because its
five movements run together into what seems more like three.
Futterman also took time to explain the brief — and, to me at least
— unnecessary encore, the finale of Tchaikovsky’s “Swan Lake.” I do
appreciate the added effort to give the audience a little something
extra, but the performance came off rather like the bottom of the
ninth inning of a great baseball game. Sure, it’s a great three
outs, but most of what made it a great game — and gave that big
finish a context — came in the preceding eight and a half
innings.
But here I am, bitching about a bonus. That’s just wrong.
Still, what I’ll remember from the March 21 program, aside from the
work of the almost insanely gifted Roman, is the Symphony’s
performances of the Tchaikovsky Rococo Variations, and the
Shostakovich, which showed thorough preparation and wonderful
musicianship throughout.
Roman was a splendid visitor for us to be able to welcome, and the
Symphony proved themselves completely worthy of his visit.
More later … — MM
