Beethoven & Saint-Saëns

Jessie Rivest reviews an OSO performance in Kelowna Friday, Nov 15, 2024 

There’s No Place Like Home

The OSO’s recent concert explored the theme of “home” through nostalgia, the thrill of exploring elsewhere, and even the desire to escape it altogether. It was the second of four performances showcasing candidate conductors for the orchestra’s next Music Director. James Sommerville brought a unique combination of relaxed expertise, wise insights, creative humour,  and embodied passion—he was truly at home on the podium.

A Prodigy’s Imagination

Mendelssohn, known for sketching landscapes and jotting melodies beneath them, drew inspiration from the world around him. The orchestra vividly brought his vision to life, capturing both the imagination and beauty of his craft. The brass section delivered a thrilling, full-bodied sound that had me and others in my row clutching our programs in awe.

The performance of The Hebrides Overture (Fingal's Cave) showcased standout moments, including a lyrical clarinet solo that added to the piece's evocative, mysterious atmosphere. The flutist brilliantly summoned the turbulence of the sea with a hauntingly gorgeous solo, further enriching the work’s dynamism.

Transportation through Sound

A surprise favourite of the night was Northern Sunrise by Canadian composer Mari Alice Conrad, inspired by a March day in northern Alberta. The performance transported listeners to a stark, serene landscape, with the orchestra’s quiet intensity holding the crowd spellbound. The string players flowed impeccably between pizzicato and bow, illustrating buds and birds coming to greet the dawn. 

Backstage at intermission, Sommerville and I reveled in the rare delight of a hushed, attentive audience allowing the final notes to linger before applauding. He expressed his passion for presenting new works, calling it a privilege to share something fresh and transformative to the world. He was impressed with the talent of the players as well as the organization of the OSO team at large. 

Rachel Mercer and Her Singing Cello

Guest artist, cellist Rachel Mercer delivered a sublime performance of Saint-Saëns’ Cello Concerto No. 1, op 33, a composition perfectly crafted for the cello’s expressive range. The interplay between Mercer and the orchestra, particularly the first violinist, was super satisfying to witness—their dance between vigor and sweetness aligned in a harmonious synergy. Sommerville and the players seamlessly elevated Mercer’s endurance and nuanced artistry. It was clear to see how much they all enjoyed making music together. 

Beethoven: From Despair to Exuberance

The evening’s “main course” was Beethoven’s second symphony, preceded by a whimsical rendition of Somewhere Over the Rainbow, the “bonbon” before the meal, as Sommerville cleverly analogized in the pre-concert chat.  Diplomatic in describing Beethoven’s character, he noted the composer’s challenges: frequent moves, hearing loss, and a withdrawn demeanor, but wrote joyous movements on some of his darkest days. The crisp shots, accents, and gravitas that Sommerville and the OSO knocked out of the park, crystalized the dark kernel of intensity that lay underneath op. 36. 

See It…Hear It…Love It…

Sommerville brought a distinctive vitality to the performance, blending precision with personality. His cues on the podium expanded the repertoire of the ictus, including but not limited to: flicks of the finger, a cupped hand, pitching a fastball, or celebratory fist pumps. At one point, he even opened up his arms like a chalice to become a vessel for the exuberant horns to pass through. 

His ability to inspire the orchestra, connect with the audience, and bring a cohesive vision to the program underscored his candidacy. Will the OSO Mainstage Series continue to carry this momentum forward in February 2025? We look forward to seeing the rest of the 65th season unfold! 

Jessie Rivest is a vocalist, sound artist, creative coach, and local arts supporter living in Kelowna.