National Philharmonic
The National Philharmonic, a second-tier orchestra that toiled for years at a multi-use auditorium in Rockville, recently became a resident artistic partner at the new Music Center at Strathmore. As such, it has inherited the much-needed acoustic benefits of the hall -- a balance that allows its fine wind players to register with clarity and punch, and creates a halo around the string sound that erases minor imperfections and makes the orchestra's undermanned violin section seem much larger.
Not that the Philharmonic needed special help on Saturday night: It played far beyond its pedigree, boasting tight ensemble, a silken finish to the strings and heartfelt solo work in the winds and brass. Conductor Piotr Gajewski led an emotionally vital, expressively molded reading of Tchaikovsky's "Pathetique" Symphony, and the players were with him phrase for phrase, even through the most mercurial shifts of tempo and dynamics.
Star soloist Cho-Liang Lin upped the prestige quotient even further with a deeply satisfying performance of Tchaikovsky's Violin Concerto. At expansive yet highly flexible tempos, and with painstakingly sculpted phrasing, Lin honored the composer's musical architecture as much as his singing line, setting some breathtakingly played upper-string melodies against a throaty earthiness in the lower strings.
The orchestra gave Lin superbly alert, sensitively turned support. Indeed, if the Philharmonic continues to play at this heady level, it will fully deserve the heightened exposure Strathmore is sure to give it.
-- Joe Banno
Opera Theatre of N.Va.
Known for churning out operas in a matter of days, Gioacchino Rossini had written all 39 of his operas by the time he was 37. The Opera Theatre of Northern Virginia gave one of his earliest operas, "L'Occasione fa il Ladro" ("Opportunity Makes the Thief"), an endearing performance on Saturday at Arlington's Gunston Arts Center.
With simple sets depicting a tavern and an estate garden, the production, sung in English translation by Amanda Holden, transported Rossini's 1812 opera about switched luggage, stolen and swapped identities and love to Alexandria and Arlington circa 1915.
Amanda Gosier, the cast's powerhouse voice, portrayed the coveted Berenice with emotional conviction. She sculpted long, fluid phrases with her acrobatic soprano. Her golden high notes peaked immediately and effortlessly at any dynamic level.
With his rich, flowing baritone, Bobb Robinson (Parmenione) had a charismatic stage presence. He interacted with fellow cast members so earnestly that his Parmenione, masquerading as Berenice's fiance, Alberto, was lovable and easily forgiven for identity theft. His confrontation with the suspicious bride-to-be ranked as the evening's best performance.
As Alberto, tenor Keith Hudspeth often sounded tentative, his tempos dragging, his upper register emerging with an edgy tone. He courted Berenice with tepid passion, resulting in unconvincing declarations of love at the end.
Baritone Jason Kaminski sang confidently as Parmenione's humorous valet Martino. Kelly Smith (Ernestina) sang with youthful vibrancy while tenor Ole Hass gave a bashful performance as Berenice's uncle, Eusebio.
Artistic Director John Edward Niles kept the eight-person orchestra -- and the opera -- zipping along.
-- Grace Jean
Baltimore Symphony Orchestra
The Baltimore Symphony Orchestra's program Friday at the Music Center at Strathmore was titled "Gypsy Nights." A one-word description of the music and the performance would be "frenzied."
