SA Symphony, Elmar Oliveira
Mendelssohn with machismo
May 30, 2009
Artistic advisor Christopher Seaman conducted the program, which seemed more suited to a mid-season date than to the closer. He began with Richard Strauss’s tone poem “Death and Transfiguration” and closed with Mussorgsky’s “Pictures at an Exhibition” in the familiar Ravel orchestration.
Once past a syrupy, oversweetened view of the opening statement, Oliveira did everything right by the Mendelssohn staple. The violinist projected an extraordinary tone -- gleaming on top, purring on the bottom -- equipped not only with uncommon carrying power, but nearly palpable substance, as well. His aim was impeccable. In the middle slow movement his playing was tender but well muscled. He strode confidently through the outer allegros, his bow spitting out forceful passagework. The first-movement cadenza was both virtuosic and deep. He earned an enthusiastic ovation.
“Death and Transfiguration” disappointed -- strangely, given Seaman’s track record and this orchestra’s strong Strauss tradition. Seaman didn’t let the music breathe freely enough, too many entrances were slightly late or ragged, and the violins sounded strident at times. Still, there were many fine individual and sectional moments, especially from principal oboe Mark Ackerman, principal English horn Stephanie Shapiro, principal flute Hye Sung Choe, principal tuba Lee Hipp and the whole trombone section.
Seaman seemed much more sympathetic to "Pictures at an Exhibition." His treatment of dynamics and coloristic details invested the pieces with more than the usual theatrical character. “The Gnome” was impetuous and grotesque, “The Market at Limoges” bustling and chattery, “The Catacombs” truly terrifying.
Mike Greenberg