Local classic music far from stuffy.
Two concerts in the past few days showed how outdated is the notion that classical music is stuffy. They also demonstrated how local ensembles can do top-notch work while relaxing the “rules.”
I mean, who doesn’t want to see the Philharmonic’s concertmaster gaily throwing confetti over some singers before returning to her duties on the violin?
The Orlando Philharmonic’s weekend performance featured “Master Peter’s Puppet Show,” Manuel de Falla’s whimsical short chamber opera based on the “Don Quixote” writings of Miguel Cervantes. Augmenting the performance: Kevork Mourad’s animated art, which added to the work’s intrinsic humor.
Meanwhile, the Bach Festival Society of Winter Park presented its latest “Insights & Sounds” program, which in an informal manner gives the audience information about the concert’s composers and music to deepen the listening experience.
Bach musical director John Sinclair kept things light — but stopped himself from pursuing a quip about Bach’s “prowess” after mentioning the great composer sired 20 children. I mean, this lighthearted business can be taken too far.
The music, however, was seriously good.
Led by the violas, Bach’s Cantata “Gleichwie der Regen und Schnee von Himmel fällt” carried a rich, warm sound. Who needs violins, anyway?
I jest, of course. At the Philharmonic concert, the violins led a beautiful reading of Brahms’ Symphony No. 1 in C minor, especially during the smoothly flowing second movement capped by delicate playing from concertmaster Rimma Bergeron-Langlois. Music director Eric Jacobsen drew out the rhythmic accents of the
allegro first movement. The Phil’s program opened with a world premiere from local composer Charles B. Griffin, “Frontispiece on J.S. Bach’s Prelude in G major.” Because of the notorious acoustic vagaries of the Bob Carr Theater, at my seat the sound of soloist Ronald Gardiner’s cello only occasionally could be heard over the other players. I heard enough to know I’d like to hear it again — with the proper sound balance.
Speaking of Bach, over in Winter Park the “Insights & Sounds” concert closed with a dynamic performance of his Brandenburg Concerto No. 6. Viola players Alvaro Gomez and Jesus Alfonzo kept the energy up without overpowering the work’s musicality.
And finally, the Philharmonic’s “puppet show.” New York-based artist Mourad’s work substituted for the puppets and complemented the liveliness of the music. Its black-andwhite simplicity, with a primitive style of movement reminiscent of stopmotion animation, felt in keeping with the oldfashioned vibe of the harpsichord-infused music.
Vocalists Alexander Elliott, William Ferguson and especially Awet Andemicael matched their vocal purity with the right amount of comedy. Stuffy? Not one bit.