Nadja rocks Bellingham
WSO concert sizzles
by Christopher Key
When you’ve seen Nadja Salerno-Sonnenberg work her magic onstage, it’s tough to remember that the Whatcom Symphony Orchestra gave another stellar concert before she burned the house down. That’s not fair, but it’s the kind of impact a performer like Salerno-Sonnenberg has on an audience.
WSO’s Winter Romance Concert began, appropriately enough, with the Peer Gynt Suite No. 2, Op. 55 by Edvard Grieg. I grew up in South Florida and Grieg’s music is very special to me because it could evoke the frigid winds of the Far North even when the temperature and humidity were battling to see who could get to 100 first. But I didn’t really grok Grieg until I lived in Alaska for five years. The WSO transported me back to frigid nights and the sound of the Taku winds in the firs. Musical Director Roger Briggs and the crew had me seeing Northern lights.
Gabriel Fauré’s Pavane, Op. 50, vividly evokes stately court dances in European palaces. The word pavane refers to both the music and the dance. The orchestra’s performance of this piece was a beautiful study in contrast to the Grieg. The Norwegian had everyone shivering while the Frenchman had us swirling through warm nights on the Riviera. Another inspired bit of programming by Maestro Briggs and some glorious work by the strings.
From the Mediterranean, the orchestra took us to the steppes of Russia with Pyotr Ilyich Tchaikovsky’s Symphony No. 2 in C Minor, Op. 17. This is called the “Little Russian” symphony because it was inspired by Tchaikovsky’s collecting of folksongs while vacationing in the Ukraine, then known by that sobriquet. I wouldn’t recommend using that term with Ukrainians at this point in history. This piece gives the orchestra a dynamic workout from thoughtful to thunderous with the brass and percussion sections getting the most exercise.
Now, back to Ms. Salerno-Sonnenberg, who has done more than most to shatter the staid image of classical music. She is an authentic superstar and not just for her stunning musical skills. She strode onto the stage in a glittering black top and black-and-white striped pants of some shiny fabric that would do a rock star proud. The rock star image doesn’t end there. This is not your grandfather’s violin virtuoso. She was born in Rome and if you believe in the stereotype of Italians as extraordinarily passionate, Salerno-Sonnenberg will do nothing to disillusion you. She struts around the stage like a distaff Mick Jagger, mugging extravagantly and egging the orchestra on to greater heights.
Don’t think for a minute that it detracts from her musicianship. Indeed, it seems to be part and parcel of her technique. Max Bruch’s Concerto for Violin in G Minor, Op. 26, is the perfect showcase for both her virtuosity and her riveting stage presence. There is no word other than erupted to describe what the audience did after her volcanic performance. They couldn’t get to their feet fast enough and the Mount Baker Theatre is still vibrating to the roars.
Obviously, an artist of Salerno-Sonnenberg’s stature doesn’t come cheaply. So an outpouring of gratitude is due to Bob & Wilma Bryant, Irwin & Frances LeCocq and Ned Nethercot for underwriting her performance. An artist of Salerno-Sonnenberg’s stature also doesn’t play with less than professional orchestras. It’s a sure sign of how much this organization has matured over the years. This is an exciting orchestra that plays to full houses, meaning get your tickets for the rest of the season right now.
You can do that by calling the MBT box office at 734-6080. For details of upcoming concerts, see www.whatcomsymphony.com.
# # #