REVIEW
2 women prove
skills as conductors
'Carmina Burana'
Repeats today at 4 p.m. at the Blaisdell Concert Hall. For ticket information, call the Honolulu Symphony Box Office at 792-2000.
The metaphor used most often to describe the symphony orchestra is that of an army, which may explain the traditional prejudice against female conductors. Friday evening's Honolulu Symphony Orchestra concert featured two women who proved themselves capable generals of their musical troops.
Joan Landry, in her first season as assistant conductor of the orchestra, played Haydn's "Clock" symphony with energy and rhythmic precision. Her beat is refreshingly uncluttered, with a clear communication of rhythmic nuances. Not a conductor whose movements are calculated to wow the audience, she throws all her physical motions into achieving the sound she wants.
The orchestra responded admirably, playing the subtle and humorous score with a grace and light-hearted elegance impressive for an ensemble of that size. They clearly enjoyed playing under her baton, rising in a unified show of respect when she entered the stage.
The second half of the concert was devoted to Carl Orff's massive "Carmina Burana," under the direction of Karen Kennedy. During her four years at the University of Hawaii and two years as conductor of the Honolulu Symphony Chorus, Dr. Kennedy has proven to be a popular and charismatic leader.
A work of dramatic contrasts, "Carmina Burana" is a 20th-century setting of Medieval poetry. The texts range from the sublime to the bawdy, while the huge musical forces allow for an almost unearthly range of dynamics and musical textures.
The orchestra was augmented by seven percussionists, two pianists, celesta and numerous extra wind players. The ranks of the Symphony Chorus were swelled by the addition of the UH Chamber Singers, the Merveille Chorus of Japan and the Cincinnati Boychoir. This gigantic ensemble achieved a level of volume in the opening chorus number that was shocking in its force, but as the work developed, they proved capable of dramatic contrast in hushed passages.
Kennedy kept all these forces together with intense concentration and unwavering rhythmic solidity through a maze of changing meters and offbeat accents.
Alicia Berneche sang the soprano solos with beautiful tone and a pleasing lyrical sense. Tenor Laurence Paxton sang the role of the roasted swan with appropriate angst, bringing chuckles from the audience with his comic facial expressions. Baritone Lorenzo Formosa sang his numerous lines with fine dynamic shaping and expressive interpretation of the text. His lyrical voice was on the light side, causing it to be drowned out on several occasions.
At the conclusion of "Carmina Burana," the audience roared (literally) its approval and leaped to a standing ovation.
E. Douglas Bomberger is a professor of music at the University of Hawaii at Manoa
