Philharmonic opens season boldly

Newly appointed Music Director Alexander Mickelthwate kicked off the Oklahoma City Philharmonic’s Classical season on a high note with Saturday’s concert, appropriately named “The Rebels.”

This collaboration with Canterbury Voices and Oklahoma City University Collegiate Choirs, featuring Beethoven’s monumental “Ninth Symphony,” marks Mickelthwate’s first concert as music director after sharing last season with Maestro Joel Levine.

Berlioz’ “La Corsaire” opened the concert in a brilliant, heroic flourish. Tying into the “Rebel” theme, the stand-alone concert overture takes its name from the Lord Byron story featuring a pirate as an unlikely protagonist. The anti-hero betrays the audience’s expectations, gallantly rescuing a slave from a harem. Berlioz’ setting similarly overturned 19th-century expectations of orchestral music by initiating a new era of programmatic musical storytelling.

The OKC Phil brought this colorful work to life vividly, bringing great energy and technical precision. The entire brass section was on point in this attention-grabbing overture, the trombones in particular sounding stellar in their featured soli section.

The brief first half concluded with a contemporary selection by Oscar-winning Chinese composer Tan Dun, his “Passacaglia: Secret of Wind and Birds,” published in 2015. Although seeming as far-removed from Beethoven as one could get, the piece paired well with the “Rebel” theme.

The work in part reflects the barren musical landscape of the Cultural Revolution, which in banning all remnants of aristocracy, replaced a rich musical tradition with the sounds of nature. The piece ultimately brings back the traditional elements, as well as an eclectic array of musical styles.

Tan Dun cleverly involves the audience by asking them to use their smartphones — usually the bane of classical musicians’ existence — to play prerecorded nature sounds and traditional Chinese instruments at certain times. The resulting sonority was interesting, and the piece was certainly well-received, no doubt because of the enthusiastic audience participation. Although it aesthetically flirted with kitsch, the piece’s novelty, brevity and timbral diversity still made it a smart pairing with the weighty “Ninth.”

As “Symphony No. 9 in D minor” famously intimidated orchestral composers of the19thcentury, Beethoven’s final symphony casts a similar shadow over conductors, representing an unreachable artistic height — perfect in concept and unattainable in reality. Respect is in order for Mickelthwate’s sheer nerve to program this beast, especially being the “new guy.” After Saturday’s performance, he clearly is equally deserving of accolades on all other counts, as well.

The orchestra played with tremendous energy and extroverted expressivity throughout this taxing, hourlong musical testament to the resilience of the human spirit. Movement 1 was taught and precise, with a fittingly dramatic gravity. The sardonic scherzo brought attitude, while the third movement featured gorgeous moments of sentimental reflection.

But of course, the choral finale, featuring the massive combined vocal forces of Canterbury Voices, OCU Chamber Choir, and OCU University Singers under the direction of Randi Ellefson and Tony Gonzales, respectively, was the true focal point of this concert. With lovely soloists and an overwhelmingly powerful chorus, the finale earned rapturous applause.

With a distinct musical voice, Mickelthwate’s new influence on the orchestra was felt abundantly, even opting for a traditional European stage setup. By placing the cello section directly next to first violins, and moving the second violins directly across from the firsts, he at once created intimate chamber music possibilities (with glorious results in the “Ode to Joy” finale), while simultaneously giving the second violins more autonomy throughout.

The success of Mickelthwate’s seemingly more hands-on approach to music making depends entirely on the cooperativeness of the ensemble and their willingness to be led and, at times, micromanaged. From Saturday’s performance, Mickelthwate’s relationship with the group seems to be an overwhelmingly positive one, encouraging collaboration and spontaneity, while also authoritatively leading the artistic direction of group.

This level of trust is truly special and seems to be surprisingly strong, even in these early stages of what will hopefully be a long, fruitful musical relationship.