By Anita Perry
This weekend, on March 4, the Okanagan Symphony Orchestra offered a sumptuous concert in its presentation of The Sacred and the Profane.
Featuring a variety of French music from the sacred Requiem by Gabriel Faure to the saucy and profane cabaret songs of Edith Piaf, it was an evening of contrast and intrigue.
The concert opened with guest tenor and Ukrainian-born Alex Wedensky singing the Ukrainian national anthem, Shche ne vmerla Ukrainy. As a sign of solidarity and support, all the evening’s performers wore ribbons of blue and yellow, a response to and acknowledgement of the current war in Ukraine.
The OSO Chorus then united with the orchestra for the first time in over two years for Gabriel Faure’s comforting and optimistic Requiem. From the hushed and reverent Introït et Kyrie to the final reassuring In Paradisum, the chorus and orchestra performed as a unit with exquisite interplay of themes and harmony of ensemble.
READ ALSO: Okanagan Symphony Orchestra adds humour to holiday shows
READ ALSO: First Nations artist featured in Okanagan Symphony
Of special delight were Alex Wedensky’s rich baritone solos in the Offertoire and Libera Me, and soprano Siobhan Raupach’s gorgeous and heartfelt solo in Pie Jesu.
Maestra Rosemary Thomson conducted without baton, always ensuring that balance was perfect, entries were timely and ensemble was tight. Kudos to Susan Shaffer for her lovely violin solos in Sanctus and In Paradisum.
After the intermission, the Okanagan Symphony Orchestra launched into Overture to Orpheus in the Underworld by Jacques Offenbach. A musical synopsis of the best melodies from the popular 19th century operetta (including an energetic rendition of the scandalous Galop Infernal also known as the Can-Can), it was a perfect light and frothy work after the introspection of the Requiem.
The OSO then welcomed Judy Rose, chanteuse to perform Three Signature Songs of Edith Piaf. A consummate entertainer who has graced stages in Memphis, New York, Paris and London, Rose’s renditions were powerful and throaty, making them uniquely her own. From the soaring vocals of La Vie en Rose through the impassioned L’hymme d’amour to the final defiant Je ne regrette rien, the selections combined elements of both the sacred and the profane, bringing the audience roaring to its feet.
The program closed with concert pianist Lorraine Min’s performance of Camille Saint-Saëns’s Piano Concerto No. 2. Min, who received her Doctor of Music from the prestigious Julliard School of Music, captured the varying and contrasting character of each movement.
The opening Andante Sostenuto was solemn and majestic, and Min created moods that were at times hushed and sacred, then passionate and fierce. Attention to musical details resulted in a rich subtext that brought dimension to the performance.
The quixotic Allegro Scherzando was a striking contrast to the opening movement with Min engaging in playful dialogue with the orchestra.
The final Tarantella-like Presto was a ferocious dance from the start. Min soared through scales, leapt through octaves and crashed through chords with accuracy and agility. Maestra Thomson managed the breakneck pace, keeping both soloist and orchestra firmly in hand. With excellent balance, tight entries and attention to the details of articulation and phrasing, the concerto roared to an exultant finish, bringing the audience to its feet in a thundering ovation.
The Sacred and the Profane was a tour de force embracing sacred hymn-like works of profound emotion to profane dance-hall music of the 19th century. Kudos to the Okanagan Symphony Orchestra for delivering an evening with such heart and dedication.
Anita Perry is a Summerland music teacher and performer.
To report a typo, email:
news@summerlandreview.com.
news@summerlandreview.com
Like us on Facebook and follow us on Twitter.