1 week Ago By Holly Harris
The Winnipeg Symphony Orchestra showed off its jazzier side with , as part of its ongoing Thursday Classics series. Read this article for free: Already have an account? To continue reading, please subscribe: * The Winnipeg Symphony Orchestra showed off its jazzier side with , as part of its ongoing Thursday Classics series. Read unlimited articles for free today: Already have an account? The Winnipeg Symphony Orchestra showed off its jazzier side with , as part of its ongoing Thursday Classics series.
The 85-minute program welcomed back to the podium Foam Lake, Sask.-born maestro Tania Miller, who led the players through four eclectic works, including a trio of WSO premières. Miller’s gracious, warm presence onstage is like sunshine on an autumnal day.
The artist, who currently serves as artistic director/conductor of the Brott Music Festival of Canada, the National Academy Orchestra of Canada and Brott Opera, introduced each work with insightful commentary, establishing a rapport with both her audience and musicians. MATT DUBOFF PHOTO Thursday’s show also saw the return former Winnipeg Symphony Orchestra princial tuba Chris Lee. The evening also trumpeted the return of former WSO principal tuba Chris Lee, greeted with rousing cheers after taking centrestage for the local première of Wynton Marsalis’s (2021).
Lee performed 15 seasons with the WSO as one of its brass backbenchers before being named principal tuba for Ottawa’s National Arts Centre Orchestra in 2018. The soloist immediately dove into the opening movement, with gusto. It was fascinating to hear Lee tossing off its textural effects, including buzzing, always-startling multi-phonics during one of its three cadenzas; he lightly tripped up and down his full register with the nimbleness of an Olympic gymnast.
A nice touch was the musicians periodically clapping out syncopated rhythms, despite somewhat lacklustre delivery. These winsome moments should pop with joy and life. Even a few smiles would help communicate greater engagement; most players appeared tethered to their scores.
The subsequent inspired by a 1960s New York dance style with Cuban roots, was a highlight, performed by Lee with swaggering ease, displaying his richly singing tone during its more lyrical sections. Miller held all forces together, charmingly bopping along on her podium while tightly cueing each section. The concerto’s bluesy, beating heart belonged t further coloured by the percussion section and once again filled with fluid tuba runs, muted brass effects and swooping string glissandi, all shaped into a melting pot of soulful expression.
One of its dirge-like marches sent shivers down the spine. Last but not least, the kaleidoscopic finale referencing iconic American alto sax player Charlie (Bird) Parker, bristled with taut energy with touches of ragtime; a few ragged ends here and there in the orchestra did not detract from the overall performance. MATT DUBOFF PHOTO Guest conductor Tania Miller was a ray of sunshine during this week’s Thursday Classics concert.
Bravo to Lee for his artistry — not to mention his physical stamina — in bringing this more unusual, compelling work to life. Another WSO debut, Aaron Copland’s quickly dispelled any sentimental notion that the quintessential 20th-century American composer only penned such ear-pleasing works as and Miller led us through a highly visceral, take-no-prisoners roller-coaster ride into the heart of dissonance in this work Even its seemingly innocent guise — a theme with 20 variations based on a four-note motif — belies its inherently violent nature, including belching brass and snapped pizzicatos. The conductor attacked the work like a lioness, creating a taut thread of suspense as it moved from its lugubrious depths to pensive resolution.
This programming choice left listeners spent, but enthralled by having survived the journey. Winnipeg Jets Game Days On Winnipeg Jets game days, hockey writers Mike McIntyre and Ken Wiebe send news, notes and quotes from the morning skate, as well as injury updates and lineup decisions. Arrives a few hours prior to puck drop.
In contrast, Michael Oesterle’s is a witty spin on the jumble of sights and sounds of a concert hall at intermission, becoming a surrogate for the evening’s usual mid-show break. While appealing at first blush, it’s also one of those works in which many cacophonous ideas became too much of a good thing, despite principal harpist Charlene Chin’s calming interpolations offering the point of view of an audience member strolling through the lobby. Mark Rash photo Former WSO principal tuba makes a triumphant return to the concert hall Thursday night in a program of lesser-known works.
The program closed with Liszt’s symphonic tone poem last performed on this stage in 1993. It’s an unabashedly romantic work and Miller’s expansive approach allowed the brass players to dig in hard throughout, while the strings’s intensely chromatic passagework during the allegro section added further drama until a triumphant close. As expected, the audience leapt to its feet at the end for this bounty of lesser-known works.
One hopes the charismatic Miller will return to this podium again — and soon. holly.harris@shaw.
ca Miller Conducts Marsalis and Liszt Winnipeg Symphony Orchestra: Thursday Classics Thursday, Nov. 14, 7:30 p.m.
Attendance: 764 ★★★1/2 out of five Advertisement Advertisement.
