The program had Jekowsky's stamp everywhere. Under its new maestro, excellence and excitement have become two of the Reno Phil's big-ticket items. The orchestra is always wonderfully prepared, that preparation consistently explodes into salvos of beautifully shaped phrases, which - laid end to end - come as close to the ultimate experience in symphonic listening as one will find anywhere.

Under these keen circumstances, why not open the doors to kids and let the good music shine in?

On Saturday afternoon, that's exactly what happened and the kids arrived in droves. There, too, was arts angel Moya Lear, whose love for kids, music, the arts and checkbook made the whole thing possible. Generations of music lovers will and should be grateful to Mrs. Lear for underwriting this new series designed to bring the glories of symphonic music to children.

There are a few things about "Beethoven Lives Upstairs" purists might quibble over (dialogue over the sounds of Beethoven, for one), but the fact that the production (it's not just a presentation or a concert) captures the imaginations of the very young, makes it all wonderfully worthwhile.

The characters and script for "Beethoven Lives Upstairs" were created by Canadian author Barbara Nichols. Nichols's writing was transformed into a Classical Kids video and audio package by Canadian music teacher turned kids-music-business entrepeneur Susan Hammond. Hammond's work was adapted for live performance by Peter Moss, Canada's premier director of children's theater. Each step has been sensationally successful. Recordings of "Beethoven Lives Upstairs" has gone platinum in Canada and has sold over 250,000 audiocassettes in the U.S.

"Beethoven Lives" involves a series of letters between an uncle and his ten-year-old nephew, Christoph, about what it's like living in the same house with Beethoven (Christoph's widowed mother rented an upstairs room to the composer). Beethoven's moody ways, ranging from pouring water over his head while standing in the middle of his room to pounding on his legless piano all hours of the day and night, convince Christoph that Beethoven is more than eccentic - he's crazy.

Eventually, Christoph's concerns are overcome by his compassion for Beethoven's loneliness, growing deafness and the awakening of appreciation in Christoph for Beethoven's genius.

The program is acted, dramatically lighted and is underscored with Beethoven's music (about 30 musical cues for the program) as played by the Reno Philharmonic. The orchestra blazed through the excerpted material with the requisite timing (imperative for a dramatization) power, verve and sheen exceptionally performed Beethoven must have. Pianist James Winn had many solo turns and they were all splendidly played. Violinist Phillip Ruder managed his many solo moments with eloquence, and - during the abbreviated Leonore Overture No. 3 - the off-stage trumpeting of Paul Lenz was full-bodied and thrilling.

This touring presentation is directed by Dennis Garnhum after Moss's original direction. Doug Adler is a charmingly boyish Christolph. Geoffrey Whynot is an affecting uncle - as well as a quickly adapting actor, once he noticed his body mike had failed.

My only suggestion for this excellent, slightly-less-than-an-hour production is that the fast flying-past excerpts from Beethoven's fabulous scores be indentified. If opera can use subtitltes, why not "Beethoven Lives Upstairs"? It's appropriate for an audience (especially one in the process of being informed) to learn the names of the works it's hearing.

"Beethoven Lives Upstairs" was a one-time-only Reno Philharmonic event. For information regarding upcoming Reno Philharmonic activities and concerts call 775 323 6393.