Soprano Jessica Rivera (photo: Isabel Pinto)

And then there is Jessica, the person, the woman who dreamed at the age of 14 of becoming an international opera star. That dream came true with her solo debut in January of 2001 when she was suddenly asked to stand in for the role of Susanna in LA Opera’s production of Wolfgang Amadeus Mozart’s The Marriage of Figaro.

“I was on my way to a voice lesson before I had to show up at the theater and got a call from the opera to sing,” Jessica explained. “I called the voice teacher to cancel [our lesson] and go on to the show.” Following her debut, she was invited by Tenor Plácido Domingo to work with the LA Opera as a resident artist. A few weeks later, she auditioned for the LA Philharmonic and was invited to sing Joaquín Rodrigo’s Ausencias de Dulcinea (The Absence of Dulcinea).

She spoke with me via telephone in March from her grandparents’ home in Woodland Hills, Calif., where she grew up. She was preparing for a project with the Boston Symphony Chamber Players and was working with her teacher to hone her already incredible vocals before heading to Boston. The beauty of her voice vibrated through her delightful personality.

Jessica Rivera will be performing her role of Kumudha in John Adams’s and Peter Sellars’s opera A Flowering Tree with the Atlanta Symphony Orchestra June 7 and 9.

The opera, in brief, is about a beautiful but poor girl, Kumudha, who discovers she has the power to turn herself into a flowering tree. She and her sister sell the flowers from the tree to provide a means of living to them and their mother. A young prince falls in love with Kumudha, marries her and then demands she transform herself into the flowering tree. His jealous sister observes the ritual and later tricks Kumudha to do the same for her and her wealthy friends. The transformation is incomplete and Kumudha is stuck in the form of half a tree, half a human. Kumudha disappears and the prince becomes distraught when he cannot find her. He leaves the palace and wanders aimlessly through the country. When he returns, he is almost unrecognizable. His sister, now the queen, takes care of him. She hears of a freakish creature with a divine voice and has it brought to her brother in the hopes the singing will return him to life. She has the creature bathed and brought to her brother’s bed. The prince and Kumudha recognize each other and he performs the old ceremony, which returns her to her human form.

Jessica spoke with me about her upcoming Atlanta performance and what it means to her to work with the ASO, as well as how she chooses her various roles.

JML—What do you hope the audience will take away from the performance of A Flowering Tree?
JR—What I would like most for people to take away from the story is redemption and hope. It’s about a young girl who finds herself, who finds love, encounters betrayal and is redeemed by a beautiful love. That’s what I would love for people to take away because something we all can appreciate on a human level is being redeemed.

JML—Tell us about your character, Kumudha. What is she like?
JR—She was young, curious and imaginative and very generous in spirit. This shows in the whole purpose of her trying to turn herself into a flowering tree so she can sell blossoms for a better life for her family—her mother and sister. There is no father in the picture. Out of great compassion for her elderly mother, Kumudha wants to do something to help. I can identify with that in a way. My family is incredibly important to me. I always want to find a way to be an important part of that family and make my family experience as full as possible. This is how Kumudha is able to express her love of family by finding a way to provide for them and make life easier.

JML—What are some of the things you look forward to in working with the Atlanta Symphony Orchestra?
JR—“Flowering Tree” has been such an important part of my career and it came in such an unexpected and beautiful way through Peter Sellars and John Adams. When I met John, it was to let him know what my voice could do so he could write a piece for me with my voice in mind. I feel funny saying he wrote for me, but humbled and honored at the same time. It’s a beautiful story with beautiful lyrics. Unlike other things he’s written, this was a real self-discovery on his part and he wrote something fairy-tale-esque than other operas he’s written based on actual historical events, such as Nixon in China. I met him for the first time in a house in Berkley, Calif., and saw him before anyone had. I thought I’d better pinch myself because [meeting him] doesn’t happen everyday. Since then, I’ve been singing and doing premiers all over world—London, Japan, San Francisco, Paris, New York and now Atlanta—and it’s been so special for me.

My career started a year before I was introduced to “Flowering Tree.” I was with Robert Spano and ASO when we recorded [Osvaldo Golijov’s] Ainadamar. I met Robert in 1998 when I apprenticed as an artist with Santa Fe Opera in New Mexico. I was in the chorus and we did The Magic Flute. So I’ve known Robert since and to do a piece with him (Ainadamar) was such a profound gift to me as an artist on both a personal and professional level. So I’m thrilled to be partnering with Robert and the ASO again. The [ASO] has been my home base for symphony performances. I’m from Los Angeles and I enjoy the LA Phil[harmonic] but all the pieces I’ve done with ASO are amazing and it’s special to know I’ve had a rich history with this orchestra in particular and with Robert.

JML—When it comes to choosing a role, whether in a new work or a classic, are there particular standards that factor into your decision?
JR—Yes. First, my voice should lend itself to the piece and the piece lend itself to my voice. I ask, “Can I sing it and will it sound good?” Also, “is it a story that I have some sort of personal connection with?” The difference to performing well is in singing something you can find a connection with. With A Flowering Tree, an ordained moment for me in my life and career is like putting on my favorite pair of comfortable jeans. [The story was] written with my voice in mind, but because I have an affinity for a good story—drama, love’s lost, love redeemed—I identify with a story that is profound and touching and hopefully there are things I enjoy. I enjoy doing operas with characters different from who I am. I also always enjoy songs. When I was probably eight or nine, I told my music teacher I wanted songs that tell a story and I can communicate in that way.

JML—Can you share with us how you began your musical journey and career?
JR—My great aunt is a professional musician, an organist at The Peabody Institute [of the John Hopkins University] in Baltimore. I sang for her when I was two and she told my family I could sing in key and I should get voice lessons. I visited my great-grandmother in Maryland when I was eight and sang for her and her friends. They agreed that I could sing. In fact, one friend of my elementary school teacher said she had a “prima donna” on hand and that I needed lessons. I understood musicals, but I didn’t know about classical music. I had an audition with a voice teacher when I was nine and she introduced me to a wonderful repertoire. At 14, she gave me an opera aria to learn. It was then I knew I wanted to be an international opera singer. I loved a good story, drama and the language. I’m grateful for my family and friends that recognized that and guided and encouraged me in this direction.

June 7 & 9, 2012
8:00 p.m.
A Flowering Tree
Atlanta Symphony Orchestra

For me, often the burden is preparation and travel to a particular destination, like attending a symphony concert. I have to put the guilt of increasing to-do lists aside for a brief moment of repose. Thankfully, I’m never disappointed. I psych myself up for the music I am going to hear or the performer I will observe and though my evening is lengthy, the music lingers long after the concert and my wheel is not so burdensome when I begin my next run.

Pianist Arnaldo Cohen

The April 20 concert of the Jacksonville Symphony Orchestra was already a thrill to me before I walked through the doors. They were going to perform Sergei Rachmaninov’s (1873-1943) Piano Concerto No. 2 in C Minor, op. 18 and as I’ve already mentioned in an earlier post, I’ve had an extensive love affair with the composer. You can read about it here. So I won’t loiter on the piece itself, but allow me to drool a bit over the pianist, Arnaldo Cohen.

The concerto requires a certain level of dynamic precision, refinement and heightened color and Arnaldo achieved this from the very first few fabulous measures. There is that dramatic, sensual waltz between pianist and orchestra and Arnaldo and the JSO waltzed their finest. There was something in Arnaldo’s manner that made you like him, as well as his performance.

The audience certainly did. He received multiple cheers and bravos and what could he do but perform again? So he and Conductor Fabio Mechetti returned to the stage and both pianist and orchestra performed the last few measures of the epic final movement. That wasn’t enough for the hungry audience and Arnaldo pleased them with a dinner mint—Frederic Chopin’s (1810-1849) Waltz No. 6, “Minute,” op. 64, No. 1 (Ah! Chopin and Rachmaninov in the same night? I almost fainted). There is no doubt my expectations were high before I arrived. Thanks to Arnaldo, my expectations were met and are higher than ever.

Aaron Copland’s (1900-1990) Appalachian Spring: Suite was another piece I looked forward to hearing because Copland is a kind of visionary, yet he maintains a familiarity and down-to-earth style with his works.

The music is extraordinarily unflustered and captivating from the very beginning of Appalachian Spring. Copland draws us into an arena of simplicity with the clarinet, flute, oboe and bassoon and the gentle hum of the strings. One wakes to the sunrise in the mountains of Pennsylvania at the turn of the 19^th century. Then we visualize the bustle of farm life as the strings approach the music like the wake-up call from the roosters and we see the farmers sweating in their fields.

Copland wrote the original Appalachian Spring as a commission for dancer Martha Graham. It is a story in which a newlywed couple begin their life in a freshly-built Pennsylvania farmhouse at the turn of the 19^th century and they express their various emotions of life, including their highs and lows, through dance. The piece was later revamped into a suite for orchestra.

Both of these major works still hum to me as I set about another busy week. But this is precisely why I pause on my wheel, long enough to absorb the music, which enables me to smile and move on again.

What is it that keeps you moving on the wheel of life?

Upcoming Jacksonville Symphony Orchestra Performance:
May 10 – 12, 2012
Beethoven’s Ninth
Beethoven: Choral Fantasy
with: Pianist Di Wu
Beethoven: Symphony No. 9 (Choral)
with: Soprano Stacey Tappan, Mezzo-soprano Stacey Rishoi, Tenor Stanford Olsen and Bass Matthew Curran

Upcoming Performances with Arnaldo Cohen:
May 12 – 15, 2012
Tchaikovsky: Piano Concerto No. 1
Oregon Symphony

May 18 – 20, 2012
Mendelssohn: Piano Concerto No. 1, op. 25
Kansas City Symphony

Ritz Chamber Trio (from left): Cellist Tahirah Whittington, Pianist Terrence Wilson and Violinist Kelly Hall-Tompkins.

The opening movement of the concerto, “Allegro,” is jovial, light and instantly seizes your attention. Within a few measures, the cello—the prominent solo instrument—joins the orchestra. Tahirah exuded fierceness and confidence when she struck the cello’s strings. The violin follows and Kelly swept the bow in graceful motion. Finally, Terrence joined them and the piano’s notes rung out both with intensity and ease. All three are a fabulous trio of talent and were harmoniously joined to bring Beethoven to life.

The cello sets the tone for the second movement, “Largo,” a sentimental, melodious tune. The instrument aches to sing and everyone remains quiet and drawn into its melody. Tahirah was pure sweetness here, yet still determined. The piano later chimes in with its calming melody, followed by the alluring violin. Beethoven must have been a romantic, a lover of nature, a lover of tranquility, for such emotions are highlighted here.

The third movement, “Rondo alla polacca,” is when the colors really coil together, leaving trails of turquois blue (Tahirah’s gown was turquoise, while Kelly wore a white Grecian gown) and streaks of pleasantness along the way. Terrence clearly enjoyed his part—his fingers danced on the keyboard, his body moved with the beat and he easily interacted with Tahirah and Kelly. The trio’s conversation at the end was more dynamic, flavorful and rich. The piece is a challenge, but the trio performed as if there was nothing to it.

Johannes Brahms’s (1833-1897) Symphony No. 4 in E Minor, op. 98 was the final piece in the concert program. Could Brahms have been thinking about Clara Schumann when he composed his final symphony? Their relationship endured until her demise and he loved her like no other woman. (He died not quite a year after her.) The graceful opening waltz in the first movement, “Allegro non troppo,” flows into a deeper, more brooding layout of music and could be Clara inspired. The woodwinds are like voices calling out from the shadows. The violins are the plaintive cries of despair.

The second movement, “Andante moderato,” is a flowing splendor of elegance. The strings’ song grabs at your heart, pulls you in, so that you want to reach out to Brahms. They provide an exquisite melody, genteel glimpses into the composer’s own heart.

“Allegro giocoso” is a dance of sorts and the music is uplifting. The pace is quicker, the mood lighter, though it grows dramatic toward the end.

The strings in the final movement, “Allegro energico e passionate,” weave in and out with the brass and woodwinds, creating layer upon layer of color. The flute, again gorgeously played by Les Roettges, is the lone voice crying out in its passionate tone to be heard. Then another cry emerges from the trumpets and horns before the violins and cellos respond with a fury.

The evening was a triple treat with the Chamber Players, Beethoven and Brahms under one roof.

(For an earlier post about Terrence Wilson, click here)

Upcoming Jacksonville Symphony Orchestra Performance:
March 8 – 10, 2012
Beethoven’s Seventh Symphony
Corgliano: Oboe Concerto
with Eric Olson
Beethoven: Symphony No. 7 in A Major, op. 92

Upcoming Performances with Tahirah Whittington:
April 4, 2012
Spring Concert
Ritz Chamber Players
Jacksonville, Fla.

Upcoming Performances with Terrence Wilson:
May 12 & 13, 2012
Beethoven: Piano Concerto No. 2
Bay Atlantic Symphony, NJ

Upcoming Performances with Kelly Hall-Tompkins:
March 10, 2012
Mozart: Sinfonia concertante, K.364, E-flat Major
Black Pearl Chamber Orchestra, Penn.

March 16, 2012
Mozart: Sinfonia concertante, K.364, E-flat Major
Erie Chamber Orchestra, Penn.

April 4, 2012
Spring Concert
Ritz Chamber Players
Jacksonville, Fla.

If you are not a huge fan of opera and you have never attended a live performance, this is one I always recommend to an opera newbie. Puccini is a bit lighter and graceful in the music than other composers and somewhat more serious in his opera than say, Mozart.

Puccini’s opera (based on a story by French novelist Louis-Henri Murger, Scènes de la vie de bohème, with the libretto by Giuseppe Giacosa and Luigi Illica) is focused on four bohemians living in Paris in mid-19^th century. Rodolfo, a poet, falls madly in love with Mimì, a seamstress, when she knocks on his door to ask for a light for her candle. Mimì is ill with consumption (tuberculosis) and during the course of a few months, they break up several times crying jealousy, when the real cause is Rodolfo’s fear of dealing with Mimì’s advancing illness. In the midst of this turmoil is Marcello, a painter and Musetta, a singer, who also break up several times because of Musetta’s lack of self-control around men, especially those with money. Everyone comes together in the last act and all sins are forgiven when Mimì returns to Rodolfo after living with a wealthy man at Rodolfo’s insistence. She is dying and she prefers to do so in Rodolfo’s arms.

Throughout the opera, the audience knows the inevitable. You still cannot help but fight back the tear that forms in your eye at Mimì’s death and Rodolfo’s plaintive cry, “Mimì! Mimì!” And you might find yourself wondering what would have happened to the two doomed lovers if Mimì had lived. I suppose then, after all, it wouldn’t be an opera.

The music of La Bohème is wildly popular and its theme has carried on in movies and musicals. The Jacksonville Symphony Orchestra’s performance on Saturday night chose a different route in regard to the setting, opting instead for Paris in 1938* and using scenery originally created for New York City Opera, Glimmerglass Opera and Houston Grand Opera. So if you were hoping for 19^th century, it was a bit of a surprise. And while the setting allowed for a different feel of the story, the music remained the same. The orchestra, under Maestro Fabio Mechetti’s direction, knows how to bring the elegance of Puccini to life. The scenery used for the garret in Acts I and IV was much like a box and unfortunately muffled the singers so that you had to strain a bit to hear them. However, the stronger vocals rippled through the music hall well.

Dinyar Vania as Rodolpho and Inna Dukach as Mimi in "La Boheme."

Those who knew the opera were, I suspect, in expectation of particular arias (solo pieces of music). First is Rodolfo and Mimì’s introductory songs. In “Che gelida manina,” Rodolfo (incredibly sung by Tenor Dinyar Vania), sings: “What a frozen little hand, let me warm it for you,” a phrase that remains a constant throughout the story. “Who am I? I’m a poet. What do I do? I write. And how do I live? I live.” But we were awaiting the tenor’s phrase “la speranza!” (“taken by hope”) and Dinyar’s booming voice shook the hall’s rafters and floated tenderly upon us with his delicate final phrases: “Or che mi conoscete, parlate voi, deh! Parlate. Chi siete? Vi piaccia dir!” (“Now that you know all about me, you tell me now who you are. Please do!”) The audience responded with a roar of applause and Dinyar became an instant favorite.

Mimì, sung by Soprano Inna Dukach, returned with her own song of introduction in “Sì. Mi chiamano Mimì” (“Yes. They call me Mimì.”) Inna captured the delicate voice of the character: “I embroider linen or silk, at home or outside. I’m contented and happy, and it’s my pleasure to make roses and lilies…I live alone, quite alone there in a little white room.” But it was her “Il primo bacio dell’aprile è mio!” (“April’s first kiss is mine!”) that pierced our hearts which were then softened with her tantalizing “il profumo d’un fior” (“of a flower is so sweet”). Inna seized the notes remarkably. She held onto them with just the right pitch then softly rolled them along her tongue as if pulling a pearl necklace from her throat. The audience again responded with rapt applause.

Soprano Yali-Marie Williams as Musetta held Act II in the palm of her hand. Her voice was impeccable and her theatrics were superb. Her animated performance of “Quando men vo”: “When I walk out alone along the street, all the people stop and stare, and seek out all my beauty from top to toe,” thrilled the audience so that they could not restrain their applause, despite Maestro Machetti’s hand waving from the pit for them to wait since the song flowed into the next piece without hesitation.

And then there’s the good-bye song in Act III Mimì sings to Rodolfo, “Donde lieta uscì al tuo grido,” asking him to send along her things except for the pink bonnet he purchased for her. “Se vuoi…serbarla a ricordo d’amore!” (“If you want to, keep it as a souvenir of our love”) she expresses in a dramatic tone that stabs us to the core. “Addio, addio senza rancor” (“Goodbye, goodbye—and no hard feelings!”) Inna’s strong, sweet tone let everyone know feelings would be crushed.

The Jacksonville Symphony performed to a packed theater from the very young to the more mature set of ones who, after 116 years, still adore Puccini, a good story and fabulous music.

*For more on the Jacksonville Symphony’s 1938 setting, click here

What about you? What do you enjoy about Puccini or La Bohème? Or opera in general?

Upcoming Jacksonville Symphony Orchestra Performance:
Feb. 16 – 18, 2012
Brahms Fourth Symphony
Beethoven: Triple Concerto
with: Cellist Tahirah Whittington, Pianist Terrence Wilson and Violinist Kelly Hall-Tompkins
Brahms: Symphony No. 4

More La Bohème:
April 19, 21 & 24, 2012
Pacific Symphony, Calif.

May 4 & 5, 2012
Opera Grand Rapids, Mich.

July 15 – Aug. 12, 2012
Central City Opera, CO

Pianist Inon Barnatan

Watching Inon Barnatan perform this past weekend with the Jacksonville Symphony Orchestra was like observing the art of making wine. You need just the right amount of fruit, texture and color to create something fine for the palate. It was clear Inon has the ability to perform Tchaikovsky with the precise level of color, texture and smoothness to create a sound that carries through the depths of our hearts. His technique and virtuosity shows he understands the music by his ability to showcase the composer’s mood and desires.

The work had been revised and even Tchaikovsky himself made revisions in this concerto, but Inon performed it in its original luster.

The piece also allows the pianist to shine and Tchaikovsky endeavored to separate piano and orchestra as much as possible. The piano is the feature, but so is the pianist himself. The music requires a bit of athleticism and Inon lives up to the task. He was in perfect shape to pull off this challenging composition.

The second movement, “Andante non troppo,” is rather fascinating because it is written like a triple concerto with solo parts for violin (performed eloquently by Concertmaster Philip Pan who drew out the “romance” of this concerto) and cello (performed by Principal Alexei Romanenko, as equally mesmerizing and hauntingly beautiful) followed by the piano. Inon rather “glided” in the movement, as though moving across the dance floor to a slow, flowing waltz, until finally all three waltzed together in a sort of chamber-esque feel (or small ensemble).

The physical attributes are once again displayed in the third and final movement, “Allegro con fuoco” and even Inon’s facial expressions and body movements gave rise to his delight in the music. With his nimble fingers flying across the keys, dancing as if they were mere water droplets bouncing off the plastic keys, his skill revealed more. His fingers were well exercised and methodically and strategically placed to execute a brilliant set of measures in this rousing finale.

The audience could not hold back from its applause before the final notes had been played in Inon’s breathtaking and compelling performance.

(click here for my interview with Inon Barnatan)

The JSO performed another fabulous composition, Nikolai Rimsky-Korsakov’s (1844-1908) Capriccio espagnol, op. 34. The piece is written in five brief variations. Although the music begins with a stirring 60-second introduction (“Alborada”), it flows gently into a soothing melody (“Variazioni”) before coming back to it’s opening (“Alborada”).

The violin is given another opportunity to shine solo (“Scena e canto gitano”) and Philip Pan takes the task to heart with a brief interlude, accompanied by the snare drums lightly tapping in the background. Many of the instruments, such as the flute, harp and cello, also have occasion for brief solo moments in this variation. It is always a joy to see orchestras showcasing their own musicians.

This lively melody is rather gypsy-like in its tone and there is a definite dance feel to this piece, heard especially in the last variation (“Fandango asturiano”).

Have you heard Tchaikovsky’s second piano concerto? Seen Inon Barnatan perform? Tell us about your experiences.

Upcoming Jacksonville Symphony Orchestra Performances:
Feb. 11, 2012
La Bohème
with Soprano Inna Dukach and Tenor Dinyar Vania

Feb. 16 – 18, 2012
Brahms Fourth Symphony
Beethoven: Triple Concerto
with Terrence Wilson, piano; Kelly Hall-Tompkins, violin; Tahirah Whittington, cello
Brahms: Symphony No. 4

Upcoming Inon Barnatan Performances:
Jan. 31 – Feb. 14, 2012
European Tour with Alisa Weilerstein

Feb. 26 & 27, 2012
Lincoln Center

March 3 – 5, 2012
Saint-Saëns: Concerto for Piano No. 2 in G Minor, op. 22
Oregon Symphony

March 20, 2012
Midwestern State University (Wichita Falls, TX)

March 28, 2012
Wheaton College (Norton, Mass.)

Pianist Inon Barnatan

The 32-year-old cannot quite pinpoint when he’s been performing professionally because, well, he’s been performing since he was a child. He made his orchestral debut at 11 and somewhere between lessons and performing in the classroom, the concert stage appeared and he has continued to amaze audiences.

He has one solo album of Schubert’s piano works, another one due out this year—Darknesse Visible—and a collaborative work of Beethoven and Schubert with violinist Liza Ferschtman. He’s scheduled to perform for Lincoln Center’s Great Performers series in February following a European tour with cellist Alisa Weilerstein (with whom he’s performed before, though this will be his first European tour with her), will give more performances in Israel, the Spoleto Festival USA and a three-week concerto and recital tour in South Africa in November.

“I’ve been there (South Africa) for holiday and I loved it,” said Inon during a phone interview Dec. 30 before leaving for Israel to perform at the Red Sea Classical Music Festival. He’ll be performing about six or seven recitals in South Africa and will include some of the music from his “Darknesse” CD. Inon is looking forward to his tour and enjoying the staples the country has to offer. “It’s always nice to combine music and my other loves—travel, food and wine. There are few musicians who don’t really love food,” he added.

He’s also stopping in Jacksonville, Fla. for a debut concert with the Jacksonville Symphony Orchestra on Jan. 20 and 21 to perform Pyotr Ilich Tchaikovsky’s Piano Concerto No. 2 op. 44 in G Major. He’s been performing Tchaikovsky’s first piano concerto for some time, but the second one, he says, is a new discovery for him.

He shared this discovery, as well his thoughts on his upcoming tour, latest CD and why pianist Leon Fleisher (who performed last season with the JSO—check it here) has a lasting resonance with him.

While it’s clear Inon Barnatan (pronounced Ee-non * Barn-ah-tahn) is a serious musician and noticeably accepts his responsibility to showcase the great compositions of long ago and today during his performances, he has a relaxed manner about him. Still, he does not hesitate to allow his thrill for music to overflow in conversation.

JML—You’ll be performing Tchaikovsky’s Piano Concerto No. 2 with the JSO. Tell us about this piece and what you enjoy most.
IB—First, I really love it. It’s such a delight, a treat, to play a piece so few people know. It’s like discovering a new repertoire—you have to dig and find the composers and learn their tricks. Tchaikovsky is a well-loved and known composer, yet this concerto is rarely played. Perhaps it’s not as catchy as his first concerto, but it’s wonderful music and it’s a treat to be able to perform. It’s one of those concertos that makes a pianist feel like a “real” pianist. It’s virtuosic with a capital “V”—I sometimes have visions of the old cartoons with different characters playing the piano and their fingers are flying. My “meat and potatoes” are the great concertos by Brahms and Beethoven, but it’s a real joy to play pieces written with concert or performance in mind. They are fun for both the performer and the audience. Tchaikovsky’s concerto is unapologetically a showpiece, meaning it’s virtuosic and joyful and contains writing on a large scale. But it also has tender and lyrical moments, namely the expansive slow movement.

JML—It’s been said that this concerto requires a bit of athleticism and that it’s more demanding than Tchaikovsky’s first piano concerto. Are there particular challenges that you had to overcome when you first learned the piece?
IB—Work and work. It is quite challenging and it requires a lot of practice time. But besides the technical challenge, it’s a question of sound. One has to produce a sound that’s both heavy and light at the same time. It’s different to the sound that one would use for a Brahms, Ravel or Haydn concerto (all of which I am playing and practicing at the moment). One challenge for me is to switch gears, both musically and technically, so that each piece has its own unique sound world.

JML—What do you hope the audience will take away from this performance?
IB—It’s a very uplifting and dazzling piece. I hope that people come out liking the “other” Tchaikovsky concerto. I’m performing it in its full version with its uncut second movement, which is basically a triple concerto with very extensive violin and cello solos. I guess some pianists didn’t like to share the limelight and it’s partly for that reason that even in Tchaikovsky’s lifetime the movement was edited drastically, with Tchaikovsky’s approval, by eliminating the cello solos and violin and cutting it in half. I’m looking forward to hearing the original version with the principle violinist (Philip Pan) and principle cellist (Alexei Romanenko) of the Jacksonville Symphony.

JML—You have an extensive tour schedule coming up. What are you looking forward to in your tour with cellist Alisa Weilerstein?

Cellist Alisa Weilerstein (photo: Jamie Jung)

IB—Alisa and I are spending just over two weeks together from the end of January until mid-February, starting in Israel, my home country. I’m bringing her and a couple more musicians for a concerto evening, as well as some chamber music. Then we’ll begin our recital tour in Europe. It will be a very intense period, but I’m looking forward to it. We’ve played together before, but this is our first duo tour. We’re very good friends and we love playing together, but we’re both used to touring primarily on our own and it’s nice to get a chance to travel and play together in a more concentrated way. We’re also planning a concerto tour in 2013, so hopefully we won’t get sick of each other quite yet.

JML—Your CD – Darknesse Visible – will be coming out soon. What inspired you in your creation of this album and to choose the particular pieces you perform on it?
IB—I’m particularly interested in inspiration and how different composers are influenced by non-musical art forms. As an interpreter, I approach a piece and try to understand it and channel it. I’m interested in how composers approach that process, how they channel a poem or a story, for example. All the pieces on the album are inspired by literature and poetry and they all explore light and darkness. That was another interesting thing for me. The way all of those composers are fascinated, like many artists before, in the dark side of literature. The music is phenomenal and the pieces relate to each other not only thematically, but also musically. Programming is a torturous thing, so it’s nice when, as a performer, you feel that a program makes sense on more than one level. The more I play this program and listen to it, the more connections I find between these pieces.

JML—What do you hope others will take away after listening to it?
IB—I hope that the CD helps tell the stories in each of these masterpieces. Besides the fact that these are beautiful and bewitching pieces on their own, I hope that listening to them in this context helps enrich each of the pieces and present them in a slightly different light.

JML—Your bio mentions that pianist Leon Fleisher was “an influential teacher and mentor” and that after he invited you to study and perform Schubert sonatas as part of a Carnegie Hall workshop, the experience had a “lasting resonance” for you. Can you elaborate on that?
IB—Fleisher has been a very significant influence on me. First of all, he’s one of the great pianists of the 21^st Century. But he is also one of the most influential teachers. I think one of the reasons is that he teaches how to approach a piece of music, rather than how to play it. Similarly to the “teach a man to fish” proverb—when you learn as a young musician how to think about a piece of music, you can apply that continuously throughout your life. He would be the first to acknowledge that he himself had the same experience with his teacher, the great Artur Schnabel.

JML—Are your Lincoln Center performances a first? What is going through your mind as you prepare for these performances?
IB—I am lucky that Lincoln Center has been one of the venues I’ve played in most in the United States. I am a guest artist of the Chamber Music Society of Lincoln Center, I have been awarded an Avery Fisher Career Grant from Lincoln Center in 2009 and I have performed in Lincoln Center dozens of times, but each time is very special. Just walking into that plaza is inspiring and it’s nice to feel at home somewhere so special.

JML—You reside in a converted warehouse in Harlem. Tell us about your place! How does the design of it help in your practice?
IB—It is very hard to find a space in New York City that will fit a concert grand Steinway and even harder to find one that will do so comfortably and where you can practice without disturbing your neighbors! I was very lucky to find this place and it’s fun to live in such a vibrant and evolving neighborhood. My apartment used to be a speakeasy back in the ‘20s, so I like to think there are some Jazz-era ghosts floating around.

For samples of Inon’s music, click here

Upcoming Performances with Inon Barnatan:
Jan. 20 & 21, 2012
Tchaikovsky: Piano Concerto No. 2
Jacksonville Symphony Orchestra

Jan. 31 – Feb. 14, 2012
European Tour with Alisa Weilerstein

Feb. 26 & 27, 2012
Lincoln Center

March 3 – 5, 2012
Saint-Saëns: Concerto for Piano No. 2 in G Minor, op. 22
Oregon Symphony

March 20, 2012
Midwestern State University (Wichita Falls, TX)

March 28, 2012
Wheaton College (Norton, Mass.)

Violinist Joshua Bell (photo: Lisa Maria Mazzucco)

We knew we were in good hands from the moment he brought his bow to his violin (a 1713 Gibson ex Huberman Stradivarius) for Max Bruch’s (1838-1920) romantic and hypnotic Violin Concerto No. 1 in G Minor, op. 26. The concerto is affecting and Joshua was a master at bringing the composer’s sentiments to the fore. I have referred to Joshua in an earlier post as a “rock star” and once again, he proved that he can “rock” the stage, even if the melody is softer than a Bon Jovi concert. Joshua maintained full control of the masterpiece and was stunning in his interpretation of Bruch. It was easy to be in awe of Joshua’s performance, as easy as it was for the violinist to play the tender second movement.

Bruch’s concerto requires a certain grace and delicacy for its explicit romantic theme and Joshua did not disappoint. Immersing himself with the orchestra was not challenging for the violinist. Even during the energetic third movement, Joshua maintained a refinement that is noticeable with seasoned musicians.

The orchestra’s own elegance and ability to make the composition shine held throughout the 26 minutes.

The audience roared with applause after the final note and expressed their pleasure with four standing ovations. Joshua, JSO Principal Harpist Kayo Ishimaru and the orchestra complied with an encore of Jules Massenet’s (1842-1912) “Méditation” from the opera Thaïs. If you have ever heard “Méditation” then you would understand why a collective sigh spread throughout the hall when Joshua announced it to the audience. If not, it is a well-known and adored melody from the opera that is often performed with solo violin and harp. Joshua again delivered the music with sophisticated poise, which was followed with another heavy applause from a grateful audience.

The JSO opened the concert with Antonin Dvořák’s (1841-1904) light, fun and rousing Carnival Overture, op. 92. Dvořák was followed with Ludwig van Beethoven’s (1770-1827) Symphony No. 8 in F Major, op. 93. This is one of Beethoven’s more simplistic and light symphonies. There is sonata, there is dance and there is an airy tone in the overall theme of this work. It is Beethoven all over—picturesque. Though the piece may not be the main course of the meal, it is held above appetizer—it is the soup and salad of a concert evening.

Conductor Fabio Mechetti led both the Dvořák overture and Beethoven symphony without a score, as he often does during JSO concerts. This is a testament to his outstanding aptitude as it is clear he knows the pieces intimately. As well, the orchestra’s talent shone magnificently through the notes of Beethoven.

Upcoming Jacksonville Symphony Classical Concert:
Jan. 20 & 21, 2012
Orchestral Blockbusters
Tchaikovsky: Piano Concerto No. 2
with: Inon Barnatan
Rimsky-Korsakov: Capriccio Espagnol
Berlioz: Overture, The Roman Carnival

Upcoming Joshua Bell Performances:
Jan. 13, 2012
Williamette University – Salem, OR

Jan. 14 – 16, 2012
Arlene Schnitzer Concert Hall – Portland, OR

Jan. 20, 2012
Jones Hall – Houston, TX

The Jacksonville Symphony Orchestra chose the lighter fare of Mozart for the first half of this past weekend’s concert, beginning with Overture to The Abduction from the Seraglio, K.384 (seraglio—harem). Mozart’s operas are comic in nature and so it is no surprise that even the overture would be jovial. And though the audience didn’t view the opera, it was easy to hear the merriness in the music, which sets the tone for the entire story. It was well received at its opening in Vienna, as well as with the JSO audience.

In Symphony No. 41 in C major, K.551, “Jupiter,” which the JSO also performed, there is little brass, one percussion instrument and a few woodwinds, giving the stage to the strings.

Mozart’s music was written much for the royal court and therefore, would have a reserved yet amusing theme in it. In his music, there is always much color, an array of beauty in the sounds, and ones listening might even believe they are among the aristocrats. Mozart just has a way of making you feel like nobility.

And while his music is relaxing, it is at the same time captivating and capable of drawing you in so that in the end, it leaves you wanting more. Mozart’s music is the perfect companion with which to wake up, get inspired, spend a romantic evening, and be soothed to sleep.

“Jupiter” was Mozart’s final symphony before his death at age 35. The pivotal moment in the symphony appears at the end of the familiar and thrilling final movement, “Molto Allegro,” perhaps a fitting exit for a great composer.

The JSO also performed Sergei Sergeievich Prokofiev’s (1891-1953) Alexander Nevsky, op.78, a piece composed for the propaganda film of the same name for the Russians, directed by Soviet director Sergei Eisenstein. The cantata featured the Jacksonville Symphony Chorus and Jacksonville University Singers – Men’s and Women’s Choirs.

Mezzo-soprano Elise Quagliata (photo: Cathryn Lynne)

The music is heavier and darker in nature than Mozart’s—no surprise, considering the film’s content is about warfare. The brass and percussion take a pronounced role on the stage, including a tam-tam (gong), tambourine, bass drum, woodblock, maracas and glockenspiel (steel bars struck with hammers). The variety of instrumentation adds appeal to the significantly different piece.

Mezzo-soprano Elise Quagliata was the guest soloist for the sixth movement, “The Field of the Dead.” Her voice was a welcome respite from the battle drama of Prokofiev’s music. Her voice was smooth, mesmerizing and lovely as she sang about wedding not a handsome man, but a brave one. He who died so nobly for Russia, I shall kiss his dead eyes, and to the brave youth who lives I shall be a faithful wife and a loving companion. I’ll not wed a man who is handsome: earthly beauty soon fades.

Some orchestras choose to present the film during the performance, but Conductor Fabio Machetti and the JSO felt it was best for the audience to come to its own conclusion. A good move, particularly since the film might have distracted and detached the audience from the choruses, mezzo-soprano and the orchestra.

What about you? Tell us what you like/don’t like about Mozart, or your opinion of Prokofiev’s “Nevsky.”

Upcoming Jacksonville Symphony Classical Concerts:
Jan. 7, 2012
Joshua Bell
Bruch: Violin Concerto

Jan. 20 & 21, 2012
Orchestral Blockbusters
Berlioz: Roman Carnival Overture
Tchaikovsky: Piano Concerto No. 2
with: Inon Barnatan
Rimsky-Korsakov: Capriccio Espagnol

Upcoming Elise Quagliata concert:
Jan. 20 & 22, 2012
Puccini: Madama Butterfly
Pensacola Opera, Fla.

Violinist Chloe Hanslip

Violinist Chloë Hanslip is one example. At age 24, she has managed, already, to perform with notable orchestras across the globe and is slated to perform this season with Detroit Symphony, Houston Symphony, Prague Symphony and National Symphony of Ireland, among many others. She has won awards and received recognition for four of her six recordings.

This past Saturday, she performed a staple of the violin repertoire, Antonin Dvořák’s (1841-1904) Violin Concerto in A minor, op. 53, with the Jacksonville Symphony Orchestra. Not only was she poised, sophisticated, graceful and “in tune” with the orchestra, but she demonstrated a mature ability to interpret Dvořák’s beloved concerto.

The concerto is dramatic, moving, stimulating and scrumptious. Chloë was specific in where she directed the violin’s conversation. First she leaned toward the orchestra and conversed with them through the music. She did the same with guest Conductor Rossen Milanov. She further acknowledged Concertmaster Philip Pan and finally, she played for the audience and through her performance, expressed Dvořák’s resolve and his affection for his homeland.

There are several romantic elements in this piece, though whether or not Dvořák intended that to be so, I cannot say. But Chloë’s body language and her performance conveyed sensitivity regarding the composer’s emotions. She also reminded me a bit of Cellist Alisa Weilerstein with her facial expressions. Chloë remained concentrated during the performance. She was relaxed in that she seemed to acknowledge the orchestra members around her, like old friends. Her serenity was contagious and the entire orchestra was equally relaxed, yet focused.

Her smiles not only denoted her pleasure in the piece, but in her enjoyment with the orchestra.

The version of this concerto I own is of Itzhak Perlman’s performance. He was roughly 28/29 when the album was recorded. Will Chloë Hanslip be among the famous names we know today? I cannot answer that, but I can say she is off to an excellent start.

The orchestra also performed Jean Sibelius’ (1865-1957) beloved Symphony No. 2 in D major, op. 43. There is a gorgeous, romantic leitmotif throughout the piece and my favorite melody first makes its grand appearance in the final movement.

There are a lot of intriguing elements in Sibelius’ symphony, such as the dramatic tone of the strings in the first movement; the brass and cello sections plucking on their strings in the second movement; the way the strings sound like a swarm of bees in the second and third movements; and the meaningful, delicate voices of the bassoons, oboes, flutes and other woodwinds, as well as the intensity of the brass in the final movement.

The symphony is sensational, full of color and variety. It has an epic feel and the emboldened orchestral voices spread a grand wave of romantic elation through the hearts of their listeners. The premise of the entire symphony is played in small increments in between its grand entrance and exhilarating exit. This is the music, this symphony, which completes a great love story.

Have you seen Chloë Hanslip in concert? Heard Sibelius’ symphony? Favor other young soloists? Share your experiences.

Upcoming Jacksonville Symphony Orchestra Concert:
Nov. 17 – 19, 2011
Mozart Jupiter Symphony
Mozart: Symphony No. 41 (Jupiter)
Prokofiev: Alexander Nevsky
with: Elise Quagliata, mezzo-soprano

Upcoming Chloë Hanslip Concerts:
Jan. 19 & 21, 2012
The Phoenix Symphony

Jan. 27 – 29, 2012
Sarasota Orchestra

Question: What do I wear to the symphony?

Answer: This, believe it or not, is a common question. The short answer is: whatever you feel comfortable with. I’ve seen all kinds up to this point—formal, jeans, working-girl (and not the daytime kind).

But the longer answer boils down to how you want to spend the evening. Are you going out to dinner? Is this a special date? Or is it simply to enjoy the music? What kind of concert is it—typical symphony concert, family concert or gala event? What time of day is it—afternoon or evening? Evening attire is usually dressier. Most people tend to dress up a little—dresses, skirts or dress pants for ladies; sports coats, slacks and dress shirts for men—ties are sometimes optional. The conductor and musicians wear tuxedos and dress clothes, so it would be considerate to show respect for their hard work and neat appearance by wearing clothes that are clean and perhaps a bit better than what you might wear if you were going to hang out at your local coffee shop for the afternoon. However, it’s still a personal choice. The area you live in might also dictate what is “normal” symphony attire.

If you’re still concerned, call the symphony office ahead of time. They get asked this frequently and they’re more than happy to give you some ideas. The most important thing is to be comfortable for you. The orchestra’s main concern is that you show up!

Question: How can I enjoy the music if I don’t understand it?

Answer: The short answer is: don’t get bogged down into the details. If you like the sound of the music, just enjoy it!

But the long answer is: you won’t be left in the lurch. You can always find notes on the program (called Program Notes) either on the Web site of the particular orchestra you are attending, via search engines or in the program book when you arrive. The program notes gives descriptions of the composer and why he/she wrote that particular piece. The really good notes will tell you what to listen for during each movement or section of the composition. Sometimes the notes are revealing, describing where you might have heard the piece before, such as in a movie. If the notes seem to be written in such a way you need a music degree to understand them, often the orchestra program book will include fun facts, minor details and shorter descriptions of that piece. While it’s cool to have some background of the music, it’s more exciting to be at the orchestra to watch the musicians and hear the sounds bouncing off the walls of the symphony hall. You can’t get that feeling from any written notes.

Also, many symphony orchestras offer free concert previews hosted by musicians or other music professionals. You’ll get to hear some of the music ahead of time, learn about the composers and aspects about the particular pieces they wrote, ask questions and listen to others’ take on the music. If you can’t find the information on the symphony’s Web site, ask them the next time you call!