Bravo, Marin!
In one of the Colorado Symphony Orchestra’s most satisfying programs in recent memory, Marin Alsop’s return to Denver this weekend spotlights her singular insight into the powerful and complex psyche of her late mentor, Leonard Bernstein, and Russian composer Dmitri Shostakovich.
The conductor laureate led the CSO with distinctive surety through Bernstein’s Symphony No. 1, a relatively rarely-performed, large-scale composition cast in the traditional three-movement format. But little else is traditional about the “Jeremiah” Symphony that expands and contracts beyond the usual symphonic shape.
The opening “Prophecy” movement is a dark, brooding suggestion of the biblical seer’s apprehension of Jerusalem’s demise. Alsop then transitioned the CSO into “Profanation,” navigating the shifting, uneven meters that depict the bedlam of the temple’s demolition. The powerful work culminated in “Lamentation” — here the CSO perfectly balanced mezzo-soprano Jamie Barton’s mellifluous, rounded tone that exquisitely rendered the deep sorrow and profound loss of the foretold destruction.
The second half of the program imbued Boettcher Concert Hall with the glorious music of Shostakovich’s Symphony No. 5. Alsop boldly grasped the somber, heart-rending themes by the collar, conducting the complex four-movement masterpiece sans score. The CSO responded fully to the maestra’s impassioned interpretation that expertly intertwined gorgeous, gentle melodies with rapidly escalating, skyward- reaching crescendos.
In the second movement, Alsop illuminated the misshapen dance rhythms with verve and flair. Arguably most memorable in Friday’s performance, however, was her reading of the emotional Largo movement that sets the stage for the triumphant, thundering Finale.
Through few musical motives, the symphony spotlights the strings, woodwinds and horn — kudos to concertmaster Yumi Hwang-Williams and principal flutist Pamela Endsley for especially fine performances.
The program opened with a solid reading of Bernstein’s reflective “Opening Prayer” elegantly conducted by Mihaela Cesa-Goje and also featuring Barton’s well-modulated voice. Of note, Cesa-Goje is a Taki Concordia Conducting Fellow — Taki Concordia was founded by Alsop to promote the careers of young women conductors.
The program repeats at 7:30 p.m. today and 2:30 p.m. Sunday.
