Tuesday, May 11, 2004
Copyright © Las Vegas Review-Journal

Philharmonic ends season with powerful performances

The Las Vegas Philharmonic enjoyed a splendid conclusion to its 2003-2004 season Saturday night with a superb guest soloist and grand work by its own musicians.

The orchestra, under the direction of Harold Weller, performed before a near-capacity crowd at Ham Hall on the campus of the University of Nevada, Las Vegas.

Guest pianist Valentina Lisitsa was the star of the evening, receiving a standing ovation after her scheduled offering, Rachmaninoff's "Rhapsody on a Theme of Paganini, Op. 43," and each of her two solo encores. Orchestra members, too, applauded or tapped bows against their instruments in appreciation.

Lisitsa, who is Ukrainian, made her first stage appearance at 4 and earned a scholarship to the Kiev Conservatory at 7.

Wearing a full, burgundy formal, her long blond hair streaming down her back, her fingers literally pounced on the keys, then swept on to others in what seemed to be feral delight.

The Rachmaninoff is a familiar piece, considered among the most joyous of his compositions. It includes two dozen variations on a single theme, all based on a caprice for violin. (Beethoven also wrote variations on the pieces.)

The 18th variation is the most popular, bringing to mind assorted themes and even the pop song "September Morn."

At its conclusion, Lisitsa offered Liszt's "La Campanella," and, after another round of jubilant applause, Chopin's "Minute" waltz.

Before and after intermission, the orchestra showed its power and the maturity that has come from five years of playing together. The evening opened with a solemn musical tribute to the late Andrew Tompkins, who with his wife, Susan, was instrumental in the development of the Philharmonic.

Edvard Grieg's "Varen (The Last Spring)" was at once charming and contemplative, a somber yet uplifting work featuring only the strings. Inspired by folk melodies, Grieg -- Norway's most well-known composer, who worked in the late 19th and early 20th centuries -- epitomized what was a sincere farewell without the treacle that can easily slip into any homage.

Kabalevsky's "Overture to Colas Breugnon," first performed in 1938, is from the first opera created by this Russian composer, pianist and writer. Percussion and horns took center stage and even the triangle made a substantial contribution. Upbeat and bright, it soared to a crescendo that challenged the orchestra.

After intermission, the Philharmonic returned with Tchaikovsky's "Symphony No. 4 in F Minor, Op. 36," first performed in 1878. Here the Philharmonic was the strongest it has been in some time. Special kudos go to the strings, often the heart and mind of the ultimately uplifting selection.

This was Felix Viscuglia's final turn as principal clarinetist. In Las Vegas for decades after a turn with the Boston Symphony and the Boston Pops, he is the second musician the Philharmonic has lost to retirement in its short life. One assumes the powers that be will maintain the quality that has now been achieved by replacing strength with strength.