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Sibelius' Violin Concerto in D minor is a piece of music that seems to depend on the point of view of the soloist. Each player brings a personal narrative. The concerto is full of unbridled energy, questions and longing. Hearing it last Friday on the bow of the ravishing violinist Karen Gomyo, I was transported into a brilliant and conflicted world of female passion, and it was exciting.

Taking the stage in a beguiling copper-colored strapless gown with a black chiffon overlay, Gomyo visually complimented the timpani, strings and concert black of the orchestra. It was an understated choice that seemed to say, "I am only slightly more special than the orchestra and we operate as a cohesive whole."

Gomyo was gloriously supported by the Kansas City Symphony as she played the ex-Foulis Stradivarius of 1703, which was absolutely her equal.

The violins entered so quietly that had the guest conductor, Andrew Grams, not been moving his baton, I would have scarcely noticed. The first solo statement was sweet and mournful with a gypsy like lyricism. It was fresh and intense at the same time. There is mind-blowing virtuosity demanded in this concerto that Gomyo played with precision and confidence. She caressed the E string so lightly that it might have resembled a thread of spider webbing. Then, on a dime, she would pull a huge tone from deep within the soul of the instrument.

Finnish conductor Pietari Inkinen was originally booked to guest conduct but couldn't because of a schedule conflict. Normally, I would have felt a little let down but not in this case. Andrew Grams was excellent. He was intensely aware of Gomyo's every move and the orchestra followed his generous gestures with attentive trust. There was a synergy between the players that made the entire performance a triumph. After the final bow stroke, I was surprised at how quickly the members of the orchestra dropped their instruments to clap for Gomyo. She poured her heart and soul into the performance and the entire concerto was a huge success.

What could possibly follow? Stravinsky's Pétrouchka. Originally written as piece for piano and orchestra, it was made into ballet for Serge Diaghilev. The piece tells the eerie tale of the puppet Pétrouchka and how he is jilted by the woman he loves, killed by her lover and transformed into a ghost.

Stravinsky uses a variety of tone colors and scoring techniques. Musically transported, the audience is standing in the middle of a busy fairground. The puppet show is happening on one side but the carnival is swirling all around. The actors emerge and the plot thickens toward its spooky conclusion.

The Symphony shined. The brass section played with gusto and precision. The principal trumpet, Gary Schutza, demonstrated fantastic dynamic control from barely audible to piercingly loud.   Other notable soloists included principal flutist Michael Gordon, Steven Seward the principal tuba and harpist Deborah Wells Clark. The Symphony should be proud of its performance.

(Audiences interested in hearing Sibelius' Violin Concerto in D minor can hear the talented violinist Sarah Holmes play it February 26 at UMKC as one of four pieces on the 2010 Concerto/Aria concert.)

REVIEW
The Kansas City Symphony Orchestra
Andrew Grams, guest conductor
Karen Gomyo, violinist
Friday, February 12, 2010
Lyric Theatre
11^th and Central Streets, Kansas City, MO
www.kcsymphony.org

By Megan Browne Helm

Classical, Vocal and Theatre Contributor

Megan Browne Helm grew up singing, dancing and acting.  Inspired by Emma Kirkby as a high school student in St. Louis she went on to study voice and sing with the Collegium Musicum at the Oberlin Conservatory in Ohio where she also had a radio show of contemporary classical music on WOBC.  At the University of Kansas she had the pleasure of working with former Kings’ Singer, Simon Carrington in his Collegium Musicum and Oread consort. Years later, she was a choral fellow at the Yale School of Music’s  Norfolk Chamber Music Festival.  She is currently singing with the Kansas City Symphony Chorus under the direction of Charles Bruffy. 

 As a freelance music and culture writer her work can be found on KCMetropolis.org, presentmagazine.com, the Lawrence Journal World, Shawnee Magazine, Leawood Lifestyle Magazine and KC Parent.  She was one of 26 journalists in the country chosen as a NEA Institute Fellow for Classical Music and Opera at the Columbia University Graduate School of Journalism. 

Her current interest is how classical music remains relevant through active collaborations with artists in different fields, including science.  She also sees a connection between classical music, travel and food as a way to engage all of the senses in a 360 degree cultural experience.  She blogs at raworganum.wordpress.com.