UTAH SYMPHONY, Abravanel Hall, Jan. 4; second performance 8 p.m., Jan. 5, tickets at 801-355-2787, 888-451-2787 or www.utahsymphony.org
At first glance the Utah Symphony’s program this weekend looks like a mixed bag of disparate works ranging from the baroque to Britten. But under the direction of Nicholas McGegan it becomes a cohesive whole.
Nicholas McGegan (Photo Credit: Randi Beach)
The British born McGegan is this weekend’s guest conductor. It was his expressive gesturing on the podium that made Friday’s concert notable for the manner in which he elicited an incredibly colorful and vibrant performance out of the orchestra. Whether it was the small string ensemble for the baroque pieces on the program or the large forces for Britten’s “Four Sea Interludes,” the playing was rich and lyrical. McGegan knew what he wanted to emphasize in each work and he got the orchestra to deliver. It was a wonderful way to start off the new year.
The symphony’s own Ralph Matson is the soloist this weekend, playing two works: Vivaldi’s Concerto in E flat major, op. 8, no. 5, also known as La tempesta di mare, and J.S. Bach’s Concerto in A minor, BWV 1041. In both of these, Matson, who has been the symphony’s concertmaster for 27 years, brought his technical acumen and musicality to bear. He played with clarity, precision and a broad palette of expression. That attention to detail was mirrored in the string ensemble’s playing that supported the soloist with finely nuanced accompaniment.
The concert opened with Mendelssohn’s Die schöne Melusine and Sibelius’ The Swan of Tuonela. In the Mendelssohn, McGegan’s nuanced direction brought youthful flair and exuberance to the piece. And the lyrically fluid playing by the woodwinds in the opening set the stage for the rest of the concert.
The Sibelius was memorable not only for the way in which McGegan captured the wonderfully evocative mood of the piece but also for the exquisite playing by the symphony’s new English hornist, Lissa Stolz. She brought poignancy and gorgeously crafted expressiveness to her lengthy solos.
The second half opened with the second and third suites from Handel’s Water Music. McGegan elicited a very nuanced reading of the short dances making up the suites. It was a vibrant account that made this well known music seem fresh and new. Of particular note was the playing of flutist Caitlyn Valovick Moore in the two gigues from the third suite.
The concert concluded with a fabulous performance of Britten’s “Four Sea Interludes” from his opera Peter Grimes. These are descriptive pieces that at colorfully orchestrated and McGegan’s account was vibrant and vivid. The orchestra played with cleanly defined articulation and beautifully executed expressions.