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Ugorski,
Lintu excel in
All-Tchaikovsky program |
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PROGRAM:
Los Angeles Philharmonic Friday, Sept 5, 2008 at the Hollywood Bowl
It is hard to believe that Ugorski, at his tender age, has been performing before the public for eleven years (he debuted with the San Diego Symphony at age eight!) All that concertizing experience translated into maturity and self-assurance way beyond his years.
The Phil came into its own in the three orchestral works, playing with a dedication and passion in the rarely-heard Francesca da Rimini tone poem like I had seldom heard them play, particularly in the beguiling middle section (where Levee’s clarinet once again excelled). In the concluding measures of rushing scalic passages, with which Tchaikovsky ingeniously creates the flickering flames of the inferno for the doomed lovers, Lintu built up a volcanic volume of tension and visceral impact that were very exciting indeed. The Polonaise from Eugene Onegin
is a grand waltz played in a grand manner with lots of warm string
playing and spirited brasses. The ever-reliable brass section of
the L.A. Phil was reinforced in the 1812 Overture with
cannons, bells and the very capable, very-dashing-in-uniform USC
Trojan Marching Band, who marched along the semicircular bridge
fronting the stage. The fireworks, as mentioned earlier, were
spectacular as advertised. For
tickets to the remaining concerts of the Hollywood Bowl's 2008
summer season, call (323) 850-2000 or visit
www.hollywoodbowl.org
Truman C. Wang is editor-in-chief of Classical Voice, whose articles have appeared in the San Gabriel Valley Tribune, the Pasadena Star-News, other Southern California publications, as well as the Hawaiian Chinese Daily.
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In
many ways, the manner with which Ugorski played reminded this writer
of the great Jascha Heifetz – stone-faced, expressionless, the
bowing arm raised high. The musical execution, on the other hand,
was anything but cold. In the first movement, Ugorski played the
two principle themes with the lyrical warmth and silken legato of a
fine singer. The solo cadenza was a daring display of rapt reveries
alternating with heroic outbursts, and the superb rapport with the
clarinet (played by Lorin Levee) created a lovely beguiling
effect in the recapitulation of the themes. In the tender
folksong-inspired second movement, the playing was again full of
classical poise and emotional maturity that completely belied the
performer’s age. The third movement crackled with fun and
excitement as the soloist raced against (and often ahead of) the
orchestra to the grand finish. Throughout the Concerto, Ugorski
commanded a freshness of tone and unforced yet masterly
virtuosity. This is no mere prodigy, but already a consummate
artist of the very first order. The Los Angeles Philharmonic
provided excellent support in the Concerto under Finnish conductor
Hannu Lintu, most memorable for the ravishing winds in the
Andante. 