REVIEW - OSO + OSYO - Kindred Spirits

Jessie Rivest reviews an OSO performance in Kelowna Friday, Feb. 9

Kicking off the night with a lively discussion on the intricacies of local performance art alongside fellow artists, followed by a stellar pizza at Curious Café, I found myself in a state of gratitude as I made my way to the concert. Despite occasional frustrations with the perceived undervaluing of the arts in our city, tonight, I chose to embrace the talent and creativity surrounding me.

Under the baton of guest conductor Benjamin Klemme, the Okanagan Symphony Orchestra (OSO) embarked on a captivating musical journey titled "Kindred Spirits," highlighting OSO principals Martine Denbok on violin and Erin Macdonald on viola, as well as members of the Okanagan Symphony Youth Orchestra.

The evening commenced with G. Rossini's Overture to William Tell, marked by a somewhat shaky start, notably in the cello solo, but quickly gaining momentum and cohesion as each section found its footing. Despite initial vulnerable entrances, the allegro section showcased the orchestra's unity and support for one another, reaffirming that famous forward-moving energy with horns beckoning and strings dancing.

Noteworthy was the dedication and perseverance of the middle school students, some experiencing their inaugural concert performance, a testament to their commitment with extensive rehearsals in preparation for this momentous occasion. Their collective discipline, coupled with the established professionalism of the OSO members, was indeed a delight to behold.

Kevin Lau's Sea of Blossoms transported the audience into a world of contrasting imagery—delicate blossoms riding upon tumultuous waves—evoking both emotion and enjoyment. Klemme's animated conducting, during the cellist’s solo redemption, was as if the waves were lifting his heels, eliciting heartfelt praise from the audience, “Wow, that was beautiful” someone exclaimed behind me. The integration of young musicians further enriched the orchestral texture, adding a new dimension to the overall sound.

However, the OSO’s rendition of Mendelssohn's Overture to a Midsummer Night’s Dream fell somewhat short of expectations. Despite Klemme's insightful commentary on the piece's youthful exuberance the 17-year-old Mendelssohn had imbued, the execution felt restrained, flattening the anticipated vigor and “smell of teen spirit”. A small portion of this can be attributed to the acoustics of the KCT. But I will say that the unforgiving space exposed the perfection of Denbok’s playing even more—kudos, kudos, kudos.

During intermission, I overheard someone say, “I’m not musical so I don’t know what’s happening in the pieces, but I will say that there is something reassuring about it…listening to something 200 years old. If I wrote something today, I don’t think it would be replayed even 10 years from now.”

Such reflections set the stage for Mozart's Sinfonia Concertante in E-flat Major, a showcase of Macdonald's expressive viola, and Denbok’s virtuosic violin. Together, they transcended the confines of the theater, resonating deeply within the audience. Each note bore the weight of emotion, as if echoing Mozart's own lament for his departed mother.

I often think of viola as the understated introvert of the string family. Hearing it shine seamlessly with the outstanding sweetness of Debok’s violin was akin to the concert’s title– "Kindred Spirits". Riveting dialogue with playful rivalry and double stops creating the illusion of a quartet in the final movement had me whip out my metal “stank face”, resisting the urge to head-bang. The excitement culminated in a mesmerizing duet that earned a near-unanimous standing ovation. The pride and joy of the players was infectious as Macdonald fist-pumped her fellow violists during the applause.

On my walk home under the evening clouds, I couldn't help but think of the combination of new and seasoned musicians sharing the stage as a symbol of our times. We have an unprecedented four generations in the workplace together during intense economic, technological, and societal shifts where many are quick to blame one another for the shortcomings of our systems. But it was clear that the collaboration of wisdom and expertise from accomplished players, and the enthusiastic determination of the Alpha gens, was archetypally satisfying. We can all harmonize our roots and routes together. Though we each play different instruments with varied timbres and approaches, we can surely make something meaningful. And maybe, just maybe, we can make something beautiful enough to be remembered 200 years from now.

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