IGNAT SOLZHENITSYN DISPLAYS ARTISTRY AS SOLOIST AND CONDUCTOR

UTAH SYMPHONY, Abravanel Hall, Oct. 24; second performance 8 p.m. Oct. 25, tickets at 801-355-2787, 888-451-2787 or www.utahsymphony.org 

Ignat Solzhenitsyn (Photo Credit: Dario Acosta)

It’s been 16 years since Ignat Solzhenitsyn appeared in Salt Lake City. In 1998 he gave a recital in Abravanel Hall. This weekend he’s making his Utah Symphony debut in the hall in the dual role of soloist and conductor.

He opened the concert with Mozart’s Piano Concerto No. 18, K. 456. A wonderful gem in his concerto oeuvre, the work displays a delightful dichotomy —  the outer movements bubble with joyful exuberance while the middle Andante is a doleful operatic aria.

Solzhenitsyn brought out the effusive lyricism of the concerto with his thoughtful playing and conducting at Friday’s performance. Both he and the reduced ensemble played with crisply articulated phrasings and there was a wonderful balance between them. The elegance that exudes from the music was underscored by their refined and polished treatment.

The remainder of the concert was dedicated to two weightier works: Prokofiev’s Symphony No. 7 and Hindemith’s Symphonic Metamorphosis on Themes of Carl Maria von Weber.

Prokofiev’s Seventh is his last symphony and one of his most lyrical orchestral works; in its mellifluousness and conservative harmonic language it has much in common with his ballet scores. It’s a captivating work and Solzhenitsyn underscored its expressiveness and transparency with his well conceived and executed reading.

In his expansive account Solzhenitsyn let the music speak for itself, which allowed the nuances of the score to be readily apparent. And the orchestra played with finely crafted expressions, clarity and articulate delivery.

Hindemith’s Symphonic Metamorphosis is a vibrant work that spotlights the various players and sections. It takes an exceptional ensemble to make it work and the Utah Symphony played it splendidly, with clean lines and dynamic expressions. Each section stood out, especially the woodwinds and brass. And principal flute Mercedes Smith’s virtuosic solo in the third movement was particularly magnificent.

REBECCA PEDERSEN SHOWS STAR QUALITIES IN BYU’S ‘THE MARRIAGE OF FIGARO’

BRIGHAM YOUNG UNIVERSITY, The Marriage of Figaro, de Jong Concert Hall, Harris Fine Arts Center, Oct. 22; through Oct. 25, tickets at 801-422-4322 or www.byuarts.com 

Wednesday’s opening night performance of Brigham Young University’s production of Mozart’s The Marriage of Figaro was Rebecca Pedersen’s show. The young soprano dominated the proceedings as the Countess not only with her singing but also with her regal stage presence. She brought depth to her characterization through her fine acting and vocal chops.

From left: Andrew Neumayer, Annie Powell and Rebecca Pedersen (Photo: Courtesy BYU)

Pedersen, a senior at BYU and a recent winner of the Metropolitan Opera National Council Auditions, already has star qualities that come through no matter what she sings or where she sings. Her performance Wednesday, which she repeats Friday, is perhaps her best to date. She infused her portrayal with wonderfully crafted nuances both in her acting and singing. There was real pathos in her two big arias, “Porgi amor” and “Dove sono;” her emotions were heartfelt and genuine.

Beverly Thompson was also noteworthy as Susanna. Her portrayal as Figaro’s betrothed was effervescent and bright. Her singing was nicely crafted and although she started out a bit shakily her performance got stronger as the evening wore on.

As Cherubino, the love sick page to the Count, Annie Powell also improved during the performance. Her acting was top notch and she did a credible job with her two arias, “Non so più” and “Voi che sapete.”

Tyrell Wilde, in the title role, was strong and focused. His portrayal was well rounded and his singing was exceptional; and he held his own in ensembles with Pedersen.

Andrew Neumayer was commanding as the Count. He has a finely modulated and rounded voice that was well suited for his role. He, too, was quite convincing and he did a wonderful job with his major aria, “Hai già vinta la causa.”

The Wednesday cast, by and large, was well chosen. In smaller roles, Lennika Wright as Marcellina and Kevin Smith as Bartolo were a delight. They imbued their roles with wit and humor.

The chorus was also quite good, and the BYU Chamber Orchestra, despite a few hiccups, played well. Conductor Kory Katseanes’ tempos were well chosen and kept things flowing nicely and seamlessly. The sets were true to the period (late 18th century) and marvelous, and Lawrence Vincent’s staging was wonderfully conceived and executed.