Philharmonic shines in close of its Masterworks season

The Las Vegas Philharmonic drew its Masterworks season to a close Saturday evening with a program both romantic and devotional.

Actor David Carradine -- perhaps best known for his starring roles in kung fu adventures on TV and in movies -- narrated Composer Arthur Honegger's "King David" in textured, thoughtful tones. He was accompanied by the orchestra, under conductor David Itkin.

The work also featured vocalists Athena Mertes, Lynette Chambers and Mark Thomson and actress Gloria Hoffmann. They were joined by the quality Las Vegas Master Singers and the University Concert Singers, performing as a combined ensemble.

(Carradine replaced Stacy Keach, who had initially been announced as narrator but was working with the New York Philharmonic in its production of "Camelot.")

Minor negatives of the evening came during this piece, and included times when the orchestra overpowered the vocalists, and the fact that Carradine did not seem to use his skillful range to the best advantage.

The program played to a near-capacity crowd.

The evening opened with Schumann's "Symphony No. 4 in D minor." Before beginning, Itkin described Schumann as embodying the "heart and soul of the romantic era. This is all about passion."

Movements were played without pause, with a bright beginning leading to a subtle second movement. The third brings Beethoven to mind, with its upbeat liveliness and an ultimate end that was stirring and intense. The orchestra was comfortable with this affable piece and up to the challenges that its inherent contrasts offer.

After intermission, the orchestra returned with Carradine and the featured singers. Honegger was born in France in 1892, studied in Switzerland and spent life in both countries. In 1921, he was approached by Swiss playwright Rene Morax to write music for his play "King David." Honegger completed 27 music sections and the work was offered in concert form in 1923.

Retelling the basics of the Bible story of David, it traces his life from boyhood to his demise. In his pre-concert remarks, Itkin called it "one of the central masterpieces of French oratorical literature," noting that it is not often performed. It was performed here in English, not French, Itkin explained, because it is an "original theatrical work" and the audience "needs to be involved in the story."

Carradine was stage left, the vocalists stage right, with no interaction. Hoffman played the brief but key role of the Witch of Endor ("Star Wars" and "Bewitched" fans, take note.) Her casual black pants and top distracted from the otherworldly, commanding dialogue and her grand movement.

Carradine was reverential -- this is, after all, the Bible -- and there were times when the actor in him appeared, with hand gestures and some emotion. Those moments made the audience wish for more involvement. Vocalists added splendid solos.

The orchestra and its musicians have certainly matured from their initial offerings on this same stage years ago. They deserve kudos for the success of this lengthy, complex work, both in their work and their ability to maintain the audience's focus.

The Philharmonic will next appear June 7 on the lawn at UNLV in the 50th Anniversary Pops concert.