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Two 20th century works and a favorite Romantic piano concerto capped off the Kansas City Symphony’s concert season last weekend. The overwhelmingly jovial program of all-Russian music celebrating man’s pure spirit, happiness and freedom was certainly a crowd-pleaser and left me feeling excited for next season with the Symphony.

The program began with Kabelevsky’s Overture to Colas Breugnon, Op. 24. The overture’s boisterous, lively opening was played with an exuberance that was maintained through all the pieces. While the rhythms and accents were distinct and solid in this short and highly spirited work, some of the low brass sections were overpowering at times.

Guest pianist Vladimir Feltsman joined the Symphony to perform Tchaikovsky’s Concerto No. 1 in B-flat minor for Piano and Orchestra, Op. 23. This work proved to be the most memorable of the evening, especially its famous first movement. The opening French horn statement was strong and steady, and the string sections played the main theme with lavish enthusiasm, which Feltsman easily matched. Although some of his more forceful sweeping octave gestures were peppered with an out-of-place note here and there, Feltsman’s playing was consecutively tranquil and concentrated. His dynamic control and expression of the more delicate, tender passages were especially brilliant.

The second movement revealed a certain disconnect between Feltsman and conductor Michael Stern. Often here (and elsewhere throughout the Concerto), Feltsman seemed to be urging visual cues from Stern to no avail. It was subtle, but there were a number of moments with slight tempo and entrance hesitation across the ensemble. In spite of this, Feltsman was most at ease and captivating in this movement, with his best technical playing of the night and even a few smiles at the audience. Supporting solos by flutist Shannon Finney, cellist Mark Gibbs, and oboist Barbara Bishop were divine.

Prokofiev’s Symphony No. 5 in B-flat major, Op. 100 provided a majestic and robust ending to the evening. The lovely introduction in the high winds gave way to rich phrases for the low strings in the first movement, and its powerful ending prompted clapping from the audience. The rhythmically-driven second movement’s spry energy never lagged, and several sections of the orchestra were allowed to shine, especially the violas and woodwinds. The third movement was a bit plodding, despite the Symphony’s deeply expressive and pensive quality in their playing. Variations on themes from the first movement appeared in the final movement, leading to a fervently charged finale. The scope and magnitude of this work made it an apt and thrilling choice to close the season.

The stirring performance given by the Symphony exemplified the program’s theme of spirited happiness and freedom. While not a completely flawless concert, I felt the standing ovations were appropriate and deserved for the level of passion displayed by Feltsman and the orchestra. The massive wall of sound produced by the Symphony on these three works resulted in an impressive aural spectacle for their season finale. Bravo to the Kansas City Symphony for another fine season! 


REVIEW:
Kansas City Symphony
Season Finale: Tchaikovsky & Prokofiev
with Vladimir Feltsman, piano
Friday, June 4, 2010
Saturday, June 5, 2010 (Reviewed)
Lyric Theatre
11^th and Central, Downtown Kansas City, MO
Sunday, June 6, 2010
Yardley Hall, Carlsen Center
12345 College Boulevard, Overland Park, KS
www.kcsymphony.org

By Kristin Shafel Omiccioli

Editorial Assignments Executive Editor; Traditional and New Classical Contributor

Kristin Shafel Omiccioli, a native of Madison, WI, holds composition degrees (M.M., B.M.) from the UMKC Conservatory of Music and Dance. Kristin's compositions have been performed at national and regional new music festivals and conferences throughout the United States. During her time at UMKC, Kristin also focused on double bass performance and arts administration. She was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long, and Chen Yi, and her bass instructor was Sue Stubbs. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison and jazz voice and theory with Hal Melia in Kansas City at UMKC.

Kristin enjoys being active in the performing arts community. She has volunteered with the Chamber Music Society of Kansas City and Charlotte Street Foundation, and has played in the bass section of the Northland Symphony Orchestra, among other bass gigs around the metro. Kristin currently serves as principal bass for the Kansas City Civic Orchestra and Heritage Philharmonic, and is a section bassist for Kinnor Philharmonic. She joined the writing staff of KCMetropolis.org in February 2010 and has been KCM’s executive editor since July 2011. Read her blog at mylittleheartmelodies.com.

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