Music Reviews

Mar 7, 2005 - Jekowsky, Guthrie, the Reno Philharmonic celebrate Mahler and Bernstein

By Jack Neal

"I could've been a contender. I could've been somebody."

Those lines are forever emblazened in memory and on film by the late Marlon Brando in the superb and bitter "On The Waterfront." Equally as spellbinding and emblazened in memory is Leonard Bernstein's riveting film score for "On The Waterfront."

Sunday's (3/6/05) Reno Philharmonic concert, opening with Bernstein's brooding and dramatic Suite from "On the Waterfront" and closing with Mahler's sunny and sentimental Symphony No. 4 is nothing less than a marvelously alluring celebration of epic storytelling through music.

Conductor Barry Jekowsky and the well-groomed and gorgeously manicured Reno Philharmonic were in top form, providing both works with heartfelt and virtuosic interpretations that were as memorable as Brando's 1954 Academy award winning performance.

Equally as memorable is the young (18) American soprano Devon Guthrie who sings the final lied which ends the Mahler. Ms. Guthrie's is a voice from heaven and a perfect match for Mahler's text. Her "Das Himmlische Leben" ("All Heavenly joys are ours") radiates the ecstatic nature of the movement with a freshness of spirit and a maturity of soul that belies Ms. Guthrie's age. She is a poised and gifted young singer of great promise, much of it fulfilled at this very moment.

As impressive as Ms. Guthrie is, John Lenz, Reno Philharmonic principal french hornist, also impresses. The french horn solo which opens the Bernstein is heroically brought off. The heroic motif plays to the Brando prize-fighter, longshoreman character who helps bring a corrupt union boss to justice. The film's love interest is also movingly captured by Bernstein's music and ravishingly rendered in long sweeping romantic lines by Jekowsky and the orchestra. Alto saxophonist Peter Epstein and timpanists Andy Lewis and Sharon Hickox-Young make major contributions to the suite's strong and contemporary dramatic sense. The connection between Jekowsky and Bernstein as a Bernstein protégé, and Bernstein and Mahler as conductor-composers who both conducted the New York Philharmonic, plays out in the purity of Jekowsky's approach to both the Mahler and the Bernstein. There's reason to believe the world's best interpreter of both is quite possibly Jekowsky himself. Certainly Sunday afternoon's concert was remarkable enough to make that claim without raising eyebrows from those in the near-capacity audience at Reno's Pioneer Center. Jekowsky's work is that rewarding, his musicianship is that splendid.

The opening movement of the symphony is brisk without being rushed; a nod towards the youthfulness and vitality Mahler intended. Mahler's flow of ideas is never allowed to congeal but remain liquid, light and fresh. There is no lingering sentimentality that might cloy, just an unerring sense of line.

Subsequent movements do not disappoint. The second movement's flights to stratospheric heights is exultant with enormous amounts of solid to terrific playing by the orchestra, both in solo moments and collectively. The third movement is exquisite. It's obligato motifs are rendered with the kind of depth of feeling and warmth the Mahler demands. The final lied, which ends the symphony, is of prime importance. The singing of youth, for which Ms. Guthrie is so supremely suited, combines with Jekowsky's thorough understanding of how to paint with Mahler's brush of orchestral textures and colorations. With kudos to harpist Beverly Colgan for her sensitive artistry, there must be kudos to all for an unsurpassed Mahler and Bernstein experience.

Sunday's matinee concert will be repeated Tuesday (3/8/05) at 7:30 p.m. All Reno Phiharmonic MasterClassics concerts are played at the Pioneer Cenbter for the Performing Arts, 100 S. Virginia Street, Reno, Nevada. For information about Reno Philharmonic concerts and events call 775-323-6393.