Philharmonic’s ‘The Planets’ takes audience to the heavens
For the Oklahoma City Philharmonic’s second Classics concert of the 2018-19 season, Maestro Alexander Mickelthwate led the orchestrain a stellar performance featuring Sergei Prokofiev’s “Violin Concerto No. 1 in D Major” and Gustav Holst’s beloved cosmic suite, “The Planets.”
Soloist Simone Porter brought Prokofiev’s dynamic concerto to life, displaying a depth of feeling beyond her mere 22 years. As with much of Prokofiev, this work demands not only incredible stamina and facility, but also a nearly schizophrenic diversity of character and mood, at times shifting on a dime. Described by violinist Joseph Szigeti, an early champion of the work, as a “mixture of fairy-tale naivete and daring savagery,” the concerto reflects the tumultuous historical backdrop of World War I and the rise of the Bolshevik Revolution. A rather safe performance, Porter’s interpretation did not reach the extroverted levels of “daring savagery;” however, it was incredibly heartfelt, and impeccably prepared, with a thoroughly captivating sound throughout.
Aided by Oklahoma City University’s appropriately named Ad Astra (“to the stars”) Women’s Chorus, led expertly by Randi Von Ellefson, the Phil took listeners on a tour of the solar system (unfortunately minus Pluto) on the second half of the program. One of the remarkable attributes ofHolst’s “The Planets” is its vast array of colors and characters, which the Phil illustrated vividly, as each movement embodies not only the color or atmosphere of a planet, but also the character of its namesake deity.
Opening with “Mars, the Bringer of War,” the orchestra reached the violent dynamic extremes to evoke the catastrophic destruction of war and the desolation of the Red Planet. The famously ominous wood-on-string ostinato was chillingly effective and militantly taught, and the brass section was once again outstanding in their restrained power.
“Venus, the Bringer of Peace” was a refreshing and beautiful reverie, with expressive solos throughout the principal strings and winds. The soloists across the orchestra displayed great sensitivity to each other in their dialogues, and the pensive pacing let us relish in the shimmering sound world and rapturous sensuality of this movement.
“Jupiter, the Bringer of Jollity” was essentially the heart of this program, and it was performed with exuberant energy in the allegro, and reverent fervor in the breathtaking cantabile section (the tune known as “Thaxted,” which also serves as the melody to the hymn “O God Beyond All Praising”). This melody was played with a slightly more legato, expressive style than I am perhaps used to hearing, and I couldn’t help missing the British stoicism of a more detached, emphatic style in the accompaniment. But Mickelthwate’s interpretation was exceptionally well-received and effective.
“Neptune, the Mystic” featured an ethereal finale performed beautifully by the Ad chorus. Although the title makes no reference to nautical themes, Holst’s homage to the sea god comes in the form of a hypnotic mermaid choir. As the orchestra fades out of the audible range, the stratospherically high, but well-controlled choir, wove a haunting siren song, drifting from backstage. As noted by the maestro, this unusual finale closed the concert just as it had begun: at a pianissimo, fading back into the silence from which it had emerged.
The Philharmonic’s Classics series returns to the Civic Center at 8 p.m. Nov. 3 for Music Director Emeritus Joel Levine’sfinal Classics performance with the orchestra — a historic evening for the Phil and for our entire arts community.