Music Reviews

May 1, 2006 - The Reno Phil with soprano Evelyn de la Rosa ends its season in the grand manner

By Jack Neal

The Reno Philharmonic came out with horns blazing Sunday (4/30/06) for a socko first-round close to its 2005-2006 subscription season. The great movie director of epic films, Cecile B. DeMille, could not have done it better.

Just completing his seventh season as conductor and music director of the Reno Philharmonic, Barry Jekowsky has never made a major misstep in the series of formal concerts the orchestra plays at Reno s Pioneer Center for the Performing Arts. His batting average of .1000 was not dented one whit with this big-budget, big-sound season closer.

Poulenc's "Gloria" with soprano Evelyn de la Rosa, the Nevada Choral Union (Duane Karna director), the Truckee Meadows Community College Singers (Ted Owens director), and of course the orchestra itself pushes the concert s cast of thousands - in the Hollywood tradition, almost always an exaggeration - to a still impressive 250. And the numbers are not the only thing about the Poulenc that impressed.

Mahler's massive Symphony No. 1 in D Major, the so-called "Titan " symphony, is - within the scope of Jekowsky's vision - as immense and thrilling as a vantage lookout view of Lake Tahoe on a clear day. This is not easy music to bring off, yet it was done superbly.

The Mahler No. 1, an elaborate spin-off on his "Songs of a Wayfarer", is ultimately a journey of triumph. From the dawn of creation, a hushed seven octave "A" that transfixes, through the sounds of nature coming to life, the first movement blossoms into a joyous theme of "Spring" without end. The next stop on Mahler's extended journey is a scherzo, a lovely peasant waltz. Then it's onto the funereal sounds of a minor-keyed "Fere Jacques", introduced by a ghostly double bass thematic statement beautifully played by the orchestra's principal bassist, Scott Faulkner. And, at last, Mahler's great battle against the status quo. From what the composer called "an outcry of a deeply wounded heart the work moves over a threshold of despair and into a world of exaltation rarely surpassed in the symphonic repertory."

The challenge with this dramatic music is to keep its theatricality in perspective; to balance orchestral colors and sonorites and let the music speak for itself rather than through excesses from the podium. Jekowsky keeps the faith with Mahler s intentions while having a grand time allowing those intentions to shine through. The orchestra responds to its maestro s virtuoso conducting with a virtuoso performance of its own for a presentation of uncommon insight and passion. The strings are luxuriant, the woodwinds translucent, the brasses burnished, the percussion crisp and supportive. It may be, as some critics claim, that the Mahler is overdone. If it is overdone, and for me it isn't, it's exciting to hear such overdone things done in such a grand manner.

Poulenc's "Gloria " presents its own fascinating series of sounds. Gloria vacillates between the profund and the lyrically sentimental with droll orchestral outbursts thrown in for good measure. The orchestration is rich in invention. The "Gloria's" six sections gives this composer of fragile designs and lightness of texture a grand opportunity to embrace the beauty of liturgical music with gorgeously luminous writing.

Jekowsky provides Poulenc's luminous score with a radiantly luminous performance. The two choirs are musically wonderfully well groomed and sing all that is demanded of them fastidiously and with love. Bravi to both choirs and their directors. Bravo also to Jekowsky who illicits a vivid palette of colors from chorus and orchestra. Under his guidance the Poulenc is as sublime and impressive as the Mahler is impressive and powerful.

The return home of Evelyn de la Rosa as soprano soloist for the Poulenc is not just a nice touch for hometown fans, it s a casting touch of genius. The humanistic sensitivity of Ms. de la Rosa is a perfect match for the Poulenc. Not only is she pristine of voice and highly musical (and being very musical is an important de la Rosa ingredient), she also comes thoroughly equipped with a marvelous wit and droll sense of humor. Revelation and charm are things she always brings to her work. What a thrill to hear her sing again, and still be singing so magnificently.

The concert will be repeated Tuesday at 7:30 p.m.

All Reno Philharmonic subscription concerts are played at the Pioneer Center for the Performing Arts, 100 South Virginia Street, Reno, Nevada. The concert reviewed above was heard Sunday, April 30, 2006 at 4:00 p.m. The concert will be repeated Tuesday, May 2, 2006 at 7:30 p.m. For information about Reno Philharmonic concerts and events call 775-323-6393 or 775-686-6600.