UTAH SYMPHONY, Abravanel Hall, Dec. 7; second performance 8 p.m. Dec. 8, tickets at 801-355-2787, 888-451-2787 or www.utahsymphony.org  

Jun Märkl (Photo: Christiane Höhne)

Normally having either conductor Jun Märkl or pianist Pascal Rogé at a concert ensures a full house. And a program of Debussy and Ravel would be the clincher. But that’s not the case this weekend in Salt Lake City.

Both artists are guesting with the Utah Symphony in a dream program. But neither the guests nor the music were enough to bring the crowds into Abravanel Hall. Friday’s attendance, while not dismal, certainly was nothing to brag about. Of course, the symphony has historically had problems with attendance at masterworks concerts in the  month prior to Christmas. And that trend is holding.

However, those who did come to the concert were rewarded with a fabulous program played by two of today’s foremost interpreters of French music.

Pascal Rogé (Photo: Mary Robert)

Nobody plays Ravel’s music better than Rogé. He understands the intricacies and subtleties of Ravel like no one else. This weekend, the venerable French pianist plays the composer’s G major Concerto, a work which bubbles with effervescence and lightheartedness in the outer movements and exudes lyricism in the slow movement.

Rogé brought his impressive interpretative skills to bear on his performance. The outer movements absolutely sparkled, while the Adagio resonated with deeply felt emotion.

And Märkl and the orchestra mirrored Rogé’s playing. It was a wonderful collaboration that did ample justice to the work.

In the other works as well, Märkl and the Utah Symphony displayed a remarkable cohesiveness. The German conductor demanded exactness and precision from his musicians and they responded by playing with clarity and articulation, as well as with depth of expression and beautifully phrased lyricism.

The first half of the concert was focused on Debussy. After opening with a charmingly vibrant reading of the Petite suite, Märkl and his band continued with an effusive account of Ibéria from Images, which he conducted without a score It was a visceral experience, with the orchestra playing with finely crafted nuances and clear cut phrases.

The same held true for Ravel’s Rapsodie espagnole which closed the concert, and which Märkl conducted from memory. The orchestra was in top form and Märkl’s direction didn’t miss anything in terms of expression. It was an exquisitely crafted account.