Okanagan Symphony showcases their own principal musicians

The Okanagan Symphony Orchestra Romp and Repose concert was outstanding, even with its conductor on the sidelines.

Concerts in Kelowna, Penticton and Vernon last weekend highlighted the orchestra’s principal trumpet, bassoon, and oboe players.

Conductor Rosemary Thomson was unable to mount the podium due to illness. Fortunately, the Canadian classical music world is full of generous souls, and renowned conductor Rolf Bertsch of the Calgary Civic Symphony stepped in with a scant 48 hours before opening night. From the moment he picked up his baton, Bertsch made it clear that his focus was on producing exceptional music.

The first work, British composer Benjamin Britten’s Soirees Musicals, Op. 9 was a perfect opener to this mid-winter concert.

The ebullient toe-tapping march brought audience members to the edge of their seats while the languid Canzonetta provided a welcome repose.

Onward to the folksy Tirolese complete with yodeling trumpets, which was followed by the vigorous Bolero with its driving triple time.

The final Tarantella was a tour de force taken at breathtaking speed, with the orchestra tight through good ensemble playing.

Bertsch captured the character and colour of each movement, producing a performance that was descriptive and unified throughout.

Quiet City, by American composer Aaron Copland featured Audrey

Patterson and Lauris Davis, OSO principal trumpet and oboist/English horn players respectively.

Patterson’s well-controlled leaps allowed her to coast from low murmurs to platinum high tones while Davies’ reassuring singing lines on English horn provided a haunting counterpoint. It was a perfect moment of repose in the evening.

Romp and Repose, by Canadian composer Aura Pon showcased Karmen Doucette, OSO principal bassoonist. The lively, toe-tapping first movement, Energetically, was rhythmic and witty, featuring conversational exchanges between Doucette and the orchestra, while the second movement, Leisurely, with relish, was lush and rich with jazz and blues idioms. The composition was well-crafted and showed facility with scoring for strings as well as a keen understanding of bassoon technique, colour and character.

Doucette attacked the work with energy and sensitivity, producing a highly satisfying performance that demanded an encore, Bassango, by Mathieu Lussier.

After intermission, the orchestra performed Italian composer Ottorino Respighi’s Trittico Botticelliano. Inspired by the paintings of Renaissance artist, Sandro Botticelli, the music is iconic of Respighi’s style: bright, colourful and well-crafted.

The first movement La Primavera (Spring) was joyous, replete with chirping birds, flowing water and fresh breezes. The second movement, L’adorazione dei Magi (Adoration of the Magi) was appropriately hushed, bringing a reverent and mystical tone while featuring noteworthy solos by the OSO woodwind section.

The final movement, La Nascita di Venere (The Birth of Venus) opened with soft strings, joined by luxurious woodwind lines featuring Anna McGuigan on flute. Increasing textures and changing rhythms brought complexity to the music, however Bertsch’s clear interpretation guided the orchestra through to a shimmering close.

The final work on the program was French composer Maurice Ravel’s Le Tombeau de Couperin. Written for piano in 1917, Ravel orchestrated the work in 1919 and both versions continue to be popular with concertgoers.

The opening Prelude coursed happily along, with oboist Lauris Davies easily flying through triplet sixteenth notes and Bertsch ensuring entries were tidy and sectional runs seamless.

The second movement, Forlane, was crisply precise with dotted eighth and sixteenth rhythms, the orchestra capturing the impish humour of this dance.

The third movement, Menuet, was appropriately sedate, and provided a lovely sense of repose after the quirky romp of the preceding movement.

Again, kudos to Lauris Davis for her sensitive oboe solos.

The final Rigaudon was a breathless romp, even while providing its own moment of repose part way through. Bertsch maintained firm control of the tempo and ensured entries were clean and precise.

Despite having to swap out its star pitcher at the last moment, the OSO produced a stellar evening of top-rate music, exemplifying the outstanding performance standard of our Okanagan Symphony Orchestra.