Sunday round-up: Baltimore Chamber Orchestra, Pro Musica Rara
I started out at Goucher College, where the Baltimore Chamber Orchestra presented one of those Viennese New Year's Day-type programs of froth and mirth. I happen to be rather partial to such things myself, although I sort of understand how the "light" classics of Johann Strauss, et al., might leave some folks unmoved.
Personally, I think Strauss' "Emperor Waltz," to mention only one example, deserves a place right alongside any of the "heavy" classics. It's a masterpiece of melody and also of mood, tinged with nostalgia and bathed in a kind of autumnal glow. Hardly mere dance music. Conductor Markand Thakar shaped that score nicely on Sunday, attentive to rubato and dynamic contrasts. The orchestra encountered occasional roughness, but conveyed the spirit of the work effectively, even getting in some of the distinctive off-beat rhythm of the authentic Viennese waltz.
The first half of the program included more Strauss -- a colorful, straightforward breeze through the "Fledermaus" Overture and a somewhat rocky, but energetic, "Tritsch-Tratsch Polka."
Interspersed with the schlag were a couple of
The highlight of this portion of the concert was Mozart's Rondo from the "Haffner" Serenade. The violin soloist was Elisabeth Adkins, the excellent associate concertmaster of the National Symphony. She was substituting on this occasion as BCO concertmaster for her honeymooning sister Madeline, who is also associate concertmaster of the BSO. Got that? Anyway, Elisabeth Adkins delivered the Mozart solo with a sweet tone and consistently elegant phrasing, and she enjoyed attentive support from Thakar and the BCO players.
At intermission, I headed over the Towson University to catch the second half of Pro Musica Rara's annual SuperBach Sunday concert.
Bach's great Double Concerto received a dynamic performance, with soloists Greg Mulligan and Ivan Stefanovic darting through the outer movements quite nimbly and giving the gorgeous Largo an eloquent touch. Their colleagues onstage also played with a good deal of flair.
Tenor Aaron Sheehan, whose work I've admired in recent years with American Opera Theater, employed his warm, supple voice to keen effect in a couple of infrequently encountered arias by Bach and Buxtehude. The latter's "Herr, wenn ich nur dich hab" was phrased with particular expressive finesse.
One little oddity of the performance: The musicians seemed uncertain about when to enter or leave the stage and when to take a bow. I guess even the pros can use a little staging rehearsal once in a while.
PHOTO OF ELISABETH ADKINS COURTESY OF BALTIMORE CHAMBER ORCHESTRA; PHOTO OF AARON SHEEHAN COURTESY OF PRO MUSICA RARA