Stravinsky’s Pulcinella and Adamo’s Harp Concerto, Reviews.
Thanks for coming to Stravinsky’s Pulcinella this weekend! The great excitement for Stravinsky was matched by the anticipation of Mark Adamo’s Four Angels, with Louise Vickerman, our principal harpist, soloing. Here are some of the great reviews from this weekend:
Vickerman gave a powerful, impassioned performance on Friday…Vickerman made the harp sound simultaneously majestic and serene.
Stravinsky’s amazingly inventive score also provided chances for nearly every member of the chamber-size orchestra to shine.
- The Salt Lake Tribune
Vickerman gave a stunning account at Friday’s concert. Her consummate artistry and impeccable technique were put to good use in this demanding work that not only asks a lot of the harpist in terms of technical polish and special effects but also in demanding a keen sense of expression and finely honed musicality. And Vickerman certainly delivered on all counts.
- Reichel Recommends
What did you think of this weekend’s concert? Leave your review in the comments!
Posted in Blogosphere Reviews, Utah Symphony
January 31st, 2011 at 11:51 am
I attended Utah Symphony’s performance of selections from Bizet’s “Carmen,” Mark Adamo’s “Four Angels (Concerto for Harp and Orchestra)” and Stravinski’s “Pulcinella” on Saturday… and enjoyed it!
Before the performance of “Four Angels,” Mark Adamo came out and spoke briefly about it and how much of a pleasure it was to work with Louise Vickerman, Utah Symphony’s principal harpist, and the symphony. One doesn’t often see/hear concertos for harp, but this was a very spirited piece. It was not only quite fun to hear, but also very fun to see the sheer… joy… on Ms. Vickerman’s face as she played.
January 31st, 2011 at 2:18 pm
My wife and I attended Friday’s performance and the pre-concert lecture. The lecture, particularly the interactive discussion between Maestro Lockhart, Mr. Adamo, and Ms. Vickerman – added to our understanding and enjoyment of the Adamo concerto.
On the whole, the entire concert was wonderful. However, the orchestration of the concerto’s fourth movement sounded too much like the music of John Coolidge Adams – for example, “A Short Ride in a Fast Machine” – and not the uniquely Mark Adamo that I enjoyed in the first three movements.
I was also disappointed by the audience’s somewhat tepid response to the concerto. It usually does not take much for a Utah Symphony audience to give a standing ovation at the conclusion of a concerto. On this occasion, however, the audience was unusually restrained, only bringing back Ms. Vickerman to the stage for one additional bow. The the applause died out as she began to come through the door onto stage for a second solo appearance, only to stop in the door way when she realized that the applause had ended.
Bravo, Ms. Vickerman, for your wonderful, virtuosic interpretation of the concerto!