UTAH SYMPHONY CHAMBER ORCHESTRA, Joseph Silverstein conducting, with pianist Lee Luvisi, Abravanel Hall, Jan. 11; one performance only.
Thursday's Utah Symphony Chamber Orchestra concert reunited two longtime collaborators and close friends.
The symphony's conductor laureate, Joseph Silverstein, returned to the podium in Abravanel Hall to lead the chamber orchestra in a wonderful concert featuring three of Mozart's best known and most popular works.
And pianist Lee Luvisi, a frequent guest in Utah for more than 20 years now, joined Silverstein and the orchestra in the first half for an enchanting performance of the A major concerto, K. 488.
Luvisi is a fine pianist and an incomparable Mozart interpreter. His playing was distinguished by careful attention to details of phrasing, tempos and dynamics. However, his performance was never stilted or wooden. It was refreshingly vibrant, invigorating and exciting. And the orchestra complemented Luvisi's approach perfectly; his playing was crisp and precise. This was Mozart done right.
Luvisi exhibited his considerable virtuosity in the opening "Allegro," but it was in the hauntingly beautiful "Andante" where he could unfold his remarkable musicality to the fullest.
The "Andante" is one of Mozart's most magical creations. Its effect lies in the striking simplicity of the music. With this movement, Mozart opens up a world of tenderness and delicate poignancy. And Luvisi charmed his audience with his sensitive and heartfelt interpretation of this captivating piece.
The closing "Presto" changes moods abruptly with its bold opening statement in the piano. Both Luvisi and Silverstein captured the sunny, bright and happy-go-lucky spirit of the finale in a tour de force performance of this infectious music.
Also on the program was the Symphony No. 40 in G minor, K. 550. Silverstein delivered a dynamic performance of this overwhelmingly somber work. His interpretation was defined in large part by the quiet intensity of the "Molto allegro" and by the subtle shadings of the "Andante."
Silverstein did a superb job in bringing out the expressiveness and tranquility of the slow movement. His interpretation allowed the music to flow freely in long, drawn-out passages that underscored the dreaminess of this piece. The occasional "forte" outbursts that punctuate the movement did nothing to dispel the overall repose.
The concert began with a decisive and authoritative performance of the overture to "The Magic Flute." Silverstein's tempos were on the fast side throughout, giving the music just the right touch of urgency and purpose.
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