By Janelle Gelfand
The Cincinnati Enquirer

If there was a theme at the Cincinnati Symphony Orchestra concert on Friday morning, it was one of strength, power and over-the-top drama. There was no one better to present such a program than the irrepressible James DePreist.

Mr. DePreist, who had his share of drama this year, rescheduled last year's CSO appearance for this season, after unexpectedly receiving a donated kidney in December. It was worth the wait. Appearing more vigorous than ever, the esteemed American conductor was utterly convincing in rarely-heard works by Gian Carlo Menotti and Shostakovich. He was joined by a spectacular 26-year-old pianist named Denis Matsuev, who made his debut in Liszt's Piano Concerto No. 2 in A Major.

Mr. DePreist is a champion of Menotti's Apocalypse, and has recorded it with the Oregon Symphony, where he is completing a 23-year tenure. Although Menotti is more known for his operas (he wrote Apocalypse the same year as Amahl and the Night Visitors) the orchestral piece evokes his Italian opera style.

Mr. DePreist was an effective leader through its diverse moods, striving for clear counterpoint and steadily building its dramatic qualities. In the first movement, he kept a balance between the elegiac, hymn-like themes and brilliant brass fanfares. The second movement was muted and mystical, which Mr. DePreist led in one great crescendo to the scherzo-like finale. Aside from some initial rocky moments, the musicians responded with vibrant playing.

Siberian pianist Mr. Matsuev, who won the 1998 Tchaikovsky Competition, has appeared with many Russian orchestras, but has not yet made a name for himself in this country. That should change soon, when word gets out about his formidable technique and natural musicality.

Liszt's Concerto in A Major is written as one fantasy-like movement in several sections. Though not as well known as Concerto No. 1, it has all the diabolical virtuosities of Liszt.

Mr. Matsuev met its challenges with flair. Yet, even though this piece is all about show, he was not self-indulgent.

His opening arpeggios were incisive and nicely shaped; he tossed off double chromatic runs, octaves and fiendish scherzando passages with clarity. One of the highlights was the intimate duo for cello and piano that occurs at the concerto's center.

Though I wished for more sweetness from principal cellist Eric Kim, the moment had beautiful color, and the pianist played the rhapsodic theme with expression.

Mr. DePreist felt every note with him, adjusting quickly when the pianist quickened a march-like section. The work came to a glittering finish, complete with keyboard-spanning glissandos.

To conclude, Mr. DePreist led the CSO's first-ever performance of Shostakovich's Symphony No. 12, The Year 1917. Intended to glorify Lenin, the piece has little of the composer's usual satire, but its underlying themes point to war and oppression under the Soviets.

Mr. DePreist's reading was high-voltage, with an unflagging sense of direction and power, moving the sparse audience to a standing ovation. The conductor paced the movements so that phrases breathed, and soloists were allowed to soar. The Razliv was memorable for the trombone solo, beautifully articulated by principal Cristian Ganicenco.

E-mail jgelfand@enquirer.com