Reichel Recommends

FAURÉ PIANO QUARTET, Libby Gardner Concert Hall, University of Utah, Feb. 22

The Fauré Piano Quartet made its first appearance at a Chamber Music Society of Salt Lake City concert Wednesday – and hopefully this won’t be its last. Playing an ambitious program the group exhibited technical mastery of their respective instruments, impeccable musicality and wonderful collaborative acumen. The four are certainly equal partners, their playing was balanced – something that doesn’t happen too often even among seasoned collaborators. In fact, they played as if they were one instrument.

They opened with Joseph Suk’s Piano Quartet in A minor, op. 1. This is an early work of the composer who was to become Antonin Dvorak’s son-in-law. But even though it was written when Suk was still a teenager, the quartet shows remarkable maturity in the manner in which he develops his themes, in its scope and in the depth of its expressions.

It’s a well written piece that was played well by the foursome, who dove straight into the opening movement with impassioned playing that captured the intensity and drive of the music.

The slow movement opens with a lovely solo for cello with soft chordal accompaniment in the piano. This was beautifully played by cellist Konstantin Heidrich before the melody moves to the violin. Violinist Erika Geldsetzer played it with wonderfully crafted and modulated expressions.

The music gradually builds towards a dramatic climax, which the four handled with refined playing that was never exaggerated, before it subsides and ends as dreamily as it began.

The finale was played with an exuberance that captured its youthful spirit and character. It was delightfully vibrant and effusive.

The Suk was paired with Gabriel Fauré’s Piano Quartet in C minor, op. 15. The ensemble brought depth and insight to their intelligent account. They actually allowed the music to speak for itself, which is essential to this work. Their reading was nuanced and expressive, and they showed how gorgeously lyrical their playing can be – they put their considerable interpretative skills on display.

After intermission, the group played Johannes Brahms’ Piano Quartet in G minor, op. 25, with the famous gypsy rondo finale. They gave an impassioned account that was tinged with darkness and a subtle earnestness. They brought feeling and a broad palette of expressions to their playing that served the music well. And the finale was fast and furious and, more importantly, well articulated and executed.

As a finale, they played the last movement from Felix Mendelssohn’s Piano Quartet in F minor, op. 2. The music is typically Mendelssohnian in its lightness, and the four played it with fluid and airy phrasings that brought this to the fore.

BYU PHILHARMONIC, de Jong Concert Hall, Harris Fine Arts Center, Brigham Young University, Feb. 18

Too often university orchestras aren’t given the opportunity to play to their potential. But when a conductor with vision is united with exceptionally talented players, nothing is impossible. That’s certainly the case with Kory Katseanes and the Brigham Young University Philharmonic. Since joining the Provo school as director of orchestras (and now also head of the school of music), Katseanes has constantly raised the bar – and his young musicians have continually risen to the challenge. It’s really no exaggeration to say that the philharmonic is without question one of the top notch university orchestras in the country.

This was driven home again Saturday when Katseanes and the philharmonic made school history by playing Richard Strauss’ Ein Heldenleben, a work of epic proportions.

Strauss was a master of orchestration. He wrote for an orchestra of virtuosos, so it’s no mean accomplishment when an orchestra, especially a university orchestra, programs one of his tone poems. And when the work in question is Ein Heldenleben, then the accomplishment is certainly one to take notice of.

Every time one hears the philharmonic one is amazed by the dedication these young artists bring to their playing, and by the conviction and earnestness of their performances. And one is also always astonished by the way Katseanes manages to raise the standard of playing. At Saturday’s concert, the musicians of the philharmonic showed what they are capable of given the chance. They brought a level of professionalism to their performance that was remarkable. One frequently forgot that this was a student orchestra playing – it was that good.

Precision, clarity and articulation are so important to a successful interpretation of Strauss’ works, and that was what Katseanes got from his players. All of the sections played wonderfully, and the many solos scattered throughout were polished and nuanced. Particularly outstanding was concertmaster Aubrey Woods. Musicality and technique were evident in equal measure in her lengthy solos in the “Hero’s Companion” section. These were played with feeling and expressiveness and shimmering beauty.

The concert opened with two contrasting, and much shorter, works: Ludwig van Beethoven’s overture to Egmont and Felix Mendelssohn’s Die schöne Melusine. The orchestra infused both pieces with vibrant and well crafted playing.

Katseanes can certainly be proud of his musicians – as they can of what they achieved. It was indeed a magical evening for everyone.

UTAH SYMPHONY, ANDRÉ WATTS, PIANO, Abravanel Hall, Feb. 17; second performance 8 p.m. Feb. 18, tickets at 801-355-2787 or 888-451-2787 or online at www.utahsymphony.org

Andre Watts transformed a concert that, before his appearance, had been mediocre and turned it into something special. Watts, who was honored by President Barack Obama earlier this week with the National Medal of Arts, brought enormous energy and refinement to his rendition of Rachmaninoff’s Second Piano Concerto. It was easily the best work of the evening.

After a change in the program the concert, with music director Thierry Fischer on the podium, began with Beethoven’s Fourth Symphony. Perhaps it’s because the musicians have been playing Beethoven all year, or perhaps  because the Fourth isn’t among the best of Beethoven’s works – whatever the reason, the symphony seemed to lack the vigor that the orchestra typically displays. The playing was still professional, with the strings having a particularly good night, but the music did tend to get bogged down from time to time.

After intermission the program was spiced up considerably by Stravinsky’s Scherzo à la Russe (1946), a short work for orchestra that had obvious jazz influences. Bursting with flourishes of color and a strong performance by the brass, the energetic piece succeeded in capturing the audience’s attention. Then Watts walked onto the stage for his 11^th appearance with the Utah Symphony.

Rachmaninoff’s concerto had a bit of a rough opening, with the orchestra and soloist losing synchronization for the better part of an entire early phrase, but it was all smooth sailing from there. The remainder of the first movement was tightly executed by all parties, with the ending of the movement being particularly strong.

The second movement was simply transcendent. Watts displayed a sublime lyricism while the orchestra managed to offer a perfectly understated accompaniment.

The third movement had the audience on the edge of their seats: Watts’ considerable technical skills were on display, revealing an effortless elegance by the old master. At times the orchestra threatened to overshadow the soloist, but Watts simply responded with a little more oomph. When the concert was over and the final cutoff was executed, the audience exploded into vigorous applause, one that lasted for four full bows. It was merited. Watts showed that he’s a veteran soloist at the peak of his ability, and provided a polished and unique take on Rachmaninoff’s masterwork.

Watts’ first performance with the Utah Symphony dates all the way back to 1971, and he has appeared with the symphony at least once in each ensuing decade. Those interested in solo piano performances shouldn’t miss Watts’ second performance tonight. It’s highly recommended.

UTAH LYRIC OPERA, LA TRAVIATA, Covey Center, Provo, Feb. 17; second performance 7:30 p.m. Feb. 18, tickets at 801-852-7007 or online at www.coveycenter.org.

It is with great pleasure that I congratulate the Utah Lyric Opera on their monumental achievement of last night’s La Traviata. I’ve never been to a performance quite like this one.

I’ve seen polished productions of some of my favorite operas in the world’s great opera halls, and I grab tickets to the Met’s Live in HD program whenever I can.

But I’ve also seen dingy, tourist-trap productions of Mozart operas staged in the soon-to-be condemned buildings on the outskirts of Salzburg. (In particular, I’m thinking of a staging of The Marriage of Figaro that was an exhibition in wheezing and winded morbid obesity.)

This ULO production was neither of these things.

When you go to see a high school production of King Lear, you’re not really expecting to see Shakespeare. You don’t care what psychological insights a local 16-year-old has into the role of the falling monarch. You’re just going to see a niece or nephew, and you’ll be pleased that they remember their lines and speak clearly.

On the other hand, you don’t arrive at a concert of the Vienna Philharmonic wondering if they’ll put on a decent enough show. Their reputation isn’t in question – at that point, you’re expecting to hear the unadulterated genius of the composer.

But the ULO’s production of Giuseppe Verdi’s La Traviata (which is their first major opera production accompanied by an orchestra) allowed me to focus on Verdi while simultaneously being amazed at the quality of this decidedly local production.

For one, the orchestra was modest: the strings consisted of four violins, two violas, a cello and a bass. This gave the prelude a surprising intimacy; it was quite like listening to a string quartet. And although the violins had a few problems getting along throughout the opera, their trills towards the end of the prelude were right on – an effect that is sometimes lost in larger orchestras.

There was nothing hometowny, however, about the voice of Kearstin Piper Brown (Violetta). It was a pure joy to hear her. In the first act especially, she had a way of making a whole melody out of a single, sustained note.  Her tone quality in the upper register was also particularly dazzling. She did fantastic things with “Sempre Libera.”

This is such a brilliant scene. If we know how the opera ends, the aria raises the old question of whether it really “is better to have loved and lost than never to have loved at all.”  She decides that she would rather live a life of pleasure than commit to this new suitor, Alfredo. Would Violetta have been happier for those last few months if she never yielded to Alfredo? Didn’t the anxieties and ecstasies of their tumultuous relationship shorten her life? But then comes Alfredo’s voice, intruding on her hedonistic ramblings with “Amor è palpito dell’universo.” (“Love is the pulse of the universe”). Or as Brian Doyle succinctly and profoundly put it, “Love is why we are here.”

Speaking of Alfredo, Isaac Hurtado had a great voice, but he was also a superb actor. I never had trouble believing his adoration of Violetta, his anguish at her parting, his fury at the misunderstanding, his shame for his behavior, or his joy at the reconciliation. I think he shone the most when he interacted with the other performers – he had a great synergy with Violetta and Giorgio (Chris Holmes).

A scene that is so quintessentially opera is when two or more characters stand at opposing ends of the stage, shouting out their disagreeing ideologies. I love it. You could never have a prolonged scene with simultaneous shouting in a movie, but you can’t have an opera without at least two.

I was particularly taken with the conclusion of Act III, where I believe the entire cast is screaming at each other.

In that number, and at all times, the vocalists were helped by the almost cinematic blocking of the stage director, Elizabeth Hansen. Her background is in Broadway, television, and the silver screen, so it was no surprise that she gave a refreshing twist to this opera staging. For one, she moved the setting forward a good 200 years. I liked everything about that decision. It allowed for less garish costumes and sets, which I’m sure agreed well with the budget. Plus, with the current popularity of shows like Downton Abbey, we’re having a love affair with 20^th century period pieces.

Throughout the opera, I couldn’t help but make the comparison with Georges Bizet’s Carmen. Both Violetta and Carmen are strong, beautiful female leads from the lower classes who capture the hearts of their social superiors. Both give flowers as a token of their affection and as a sort of amorous challenge. Both die.

Edgar Allan Poe wrote that the death of a beautiful woman is “unquestionably the most poetical topic in the world,” and while Carmen is obviously one of the greatest operas in the repertoire, Violetta’s death cut me much deeper than Carmen’s; it was more “poetical.”

Carmen certainly doesn’t deserve to be stabbed to death. Few people do. But she wasn’t a nice person, and she never showed that she was capable of sacrifice. Violetta, though, is marvelous. The people who deserve most to be happy are those willing to give up their own happiness for another.

In the first two acts of the opera, it’s hard to be convinced of Alfredo’s and Violetta’s love. Like so many Romeos and Juliettes, they don’t really know or deserve each other. But after Violetta’s sacrifice and Alfredo’s remorse, they’ve grown in their character and their love. Just when we want the most for them to run away together, fate and disease finally strike her down.

Anyway, I’m so happy for Utah County. The ULO has set a high bar for itself, and I eagerly anticipate watching them reach and exceed that standard again and again. They’ve proven that they have both the talent and the resources to bring great operas to the community. We’re ready to receive them.

UTAH LYRIC OPERA ENSEMBLE AND PARADIGM CHAMBER ORCHESTRA, DON GIOVANNI, Libby Gardner Concert Hall, Feb. 17; second performance 7:30 p.m. Feb. 18, tickets at the door

Wolfgang Amadeus Mozart’s Don Giovanni holds up well no matter how it is done. The music sparkles exquisitely and the libretto is sophisticated and witty. It’s a gem of an opera that never grows old, no matter how often one has heard and seen it.

This weekend Robert Breault’s Utah Lyric Opera Ensemble and Joel Rosenberg’s Paradigm Chamber Orchestra join forces for an abridged concert version of Mozart’s timeless opera. As with their past collaborative ventures, this is once again a fortunate pairing between some exceptional young singers and some solid instrumentalists.

Rosenberg is on the podium and Breault narrates, offering continuity to the shortened production (most of the recitatives and several of the arias have been left out). The performances are double cast with the exception of the title role, which Daniel Tuutau sings both nights.

Breault has assembled a strong group of singers for Friday’s performance (and Saturday’s performance will no doubt be equally as wonderful). Those in the opera ensemble not singing leads either night have been recruited to be the chorus. (They sit in the hall with the audience.)

Tuutau gives a vibrant account of the lascivious nobleman. He has a lyrical and well modulated voice that allows him to bring a wide ranging palette of expressions to his singing. Hearing him one can readily understand how it is that he can so easily woo and captivate women.

Matthew Castleton brings credibility to the role of Leporello, Don Giovanni’s servant and chronicler of his seductions. He has a rich voice with power where needed, but it’s always tempered with beautifully crafted expressiveness.

Both Julia Wentz (Donna Anna) and Heather Madsen (Donna Elvira) have exceptional voices. They sang Friday with conviction and authority; the expressive qualities of their voices were well suited to the music.

As Zerlina, Chelsea Lindsay was a delight; she brought depth and feeling to her characterization.

But it was Andrew Maughan as Don Ottavio who almost stole the show from everyone else. He has a clean, pure tenor and his “Il mio tesoro” was beautifully phrased and delivered.

Merrill Flint and Charles Hamilton were in fine vocal form as Masetto and the Commendatore, respectively.

The Paradigm Chamber Orchestra played well and Rosenberg’s tempos were well chosen, allowing the music to flow naturally.