Tuesday, February 29, 2000
Exciting wunderkind conductor sparks CCO
BY JANELLE GELFAND
The Cincinnati Enquirer
By the conclusion of the Cincinnati Chamber Orchestra concert on Sunday afternoon, the audience knew it had witnessed something remarkable.
In the season-long quest for a new music director, guest conductor Mischa Santora proved to be a strong contender in his CCO debut. A mere three years out of Curtis Institute of Music, he's something of a wunderkind, with musicality and charisma that some artists never attain.
But could the 28-year-old Swiss native, whose main experience has been leading the New York Youth Symphony, be convincing? The answer lay in his well-conceived program of Stravinsky, Bach and Beethoven. It showcased his exceptional abilities as well as the strengths of the orchestra.
Tall (6 feet 5 inches) and lanky, Mr. Santora is magnetic to watch, with a clear beat and expansive gestures. He opened with Stravinsky's Pulcinella Suite, bringing out both the warmth and the fun of this neoclassical score. Although the tempo sagged a bit in slower movements, quicker sections, such as the lively Tarantella, were light and ebullient.
He achieved a clarity that allowed inner counterpoint to shine through, no mean feat in the difficult acoustics of Memorial Hall.
Orchestral soloists shone as well, notably oboist Christopher Philpotts and concertmaster James Braid. A high point was a witty variation for trombone (Tim Anderson) and bass (Deborah Taylor).
Another impressive debut was made by violinist Nicolas Kendall, 21, in J.S. Bach's Concerto No. 1 in A Minor. This was an electric collaboration, marked by pointed articulation and a buoyant spirit. Mr. Kendall, a student at the Curtis Institute in Philadelphia, projected the beauty of the music as well as an awareness of Baroque style.
Although his tone was cool in the first movement, his sound became warmer and more natural as he played. His technique was effortless, and his phrasing, especially in the Andante, was beautiful. He lit into the finale with a mischievous gleam in his eye, often turning to communicate with the players.
Mr. Santora's balance was perfect. The performance, which included fine continuo playing by Dayton harpsichordist Julane Rodgers, was rewarded with the first of two standing ovations from 486 listeners.
The concluding performance of Beethoven's Symphony No. 4 ranks among the best I have heard from this ensemble. Mr. Santora captured the tension and darkness of the introduction, which then erupted thrillingly into a smiling allegro.
He showed a fine ear for balance and clarity, and inspired crisp, dedicated playing. Crescendos were exciting, phrasing was detailed and tempos were well-judged.
The scherzo had a feeling of natural vigor; the finale was precise and had a real joie de vivre.
There were two glitches: mistakes in the program (among too many this year) and a ringing cell phone.
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