Bravo to orchestra for Beethoven show

Tuesday, August 13, 2002

By Judith White

It began Wednesday with the composer's Violin Concerto and Symphony No. 7, and culminated Saturday evening in a performance of his most magnificent, universal music: Symphony No. 9.

Maestro Charles Dutoit led the Philadelphians through four evenings of a Bravo Beethoven! festival, and this final event was the perfect trump card in the winning hand of programs.

It is this last of the week's orchestral music that strikes the musical chord in audience's hearts worldwide: Beethoven's Ninth Symphony, "Choral," which uses a cast of vocal soloists and a full chorus to deliver its message of hope that all men can be brothers.

Saturday's concert began with Piano Concerto No. 5, Emperor, composed in 1809 and perhaps named after the fact for Napoleon at a time when Beethoven still had hopes for that man's leadership.

Like its alleged namesake, the work has some imperialistic, bombastic themes, but it's also nearly music-box dreamy at times, shimmering and other-worldly.

Featured soloist in the concerto was pianist Yefim Bronfman, a well-loved and much-appreciated veteran of SPAC's stage.

Bronfman isn't a showy pianist in performance, but he does present a strong visual presence. Dark and somewhat brooding in appearance, he curls over and scowls down at the keyboard, his face nearly parallel to the keys.

He has the power of a giant when he wants big sound from his instrument, but in this concerto his total focus delivered the ultimate delicate touch, and his pianissimos were perfect feathery whispers.

The orchestral work in the second movement Adagio was as soothing as a mother's kiss. Brief horn solos were played perfectly by David Wetherill, co-principal of that section hidden in the back.

Dutoit waltzed on the podium for a full two measures before leading the orchestra into the big entry for the final Rondo.

Beethoven's huge Ninth Symphony, more than an hour long, filled the second half of the evening. The Philadelphians' opening music for the work came from nowhere and assembled itself into a mammoth, stormy statement.

This had to be a very tired orchestra for this final performance of a demanding week, but for the most part, the playing of this masterpiece was top quality. I say "for the most part" because there was some dissension about pitch, particularly from the trumpets.

With the hot summer night and a stage absolutely packed with instrumentalists and a large chorus at the end of two weeks' work, including eight full programs, most pitch problems can be excused.

That said, there are those members of the orchestra who seldom fall prey to the pitch thing: Principal oboe Richard Woodhams is one example. He's always there in his many sectional solos.

Vocal soloists for the choral movement, widely known as Ode to Joy, were Pamela Coburn, soprano; Sonia Racine, mezzo-soprano; Stanford Olsen, tenor; and Stephen Powell, baritone, whose deep, big voice broke through the orchestral music to demand that all we should be joyful and join as one with our brothers.

Olsen was particularly good in his tenor role, urging brotherhood.

The Mendelssohn Club Chorus from Philadelphia, about 100 members strong, packed the risers at the back of the amphitheater's stage for this performance.

They've sung several major works here through the years, and it's a bit like a party as they greet musicians and friends from their home city here at SPAC.

Alan Harler is music director for the chorus, which for this performance had to manage a vocal scramble to sing the German text in a thrilling, up-tempo delivery of the final chorus.

"Freude" (Joy) they sang in benediction to the evening, and in apt description of the evening's performance.