Symphony
makes magicMagic of Spain: Honolulu Symphony with guest conductor Max Bragado Darman and pianist Dickran Atamian
By Ruth O. Bingham
Special to the Star-BulletinHONOLULU Symphony's "Magic of Spain" is an unforgettable, not-to-be-missed sensation. Pianist Dickran "Ricky" Atamian played with power, passion and poetry, and guest conductor Max Bragado-Darman inspired the orchestra to produce some of its finest work this season. This is Spanish and French music at its best.
Atamian performed Saint-Sans' Concerto No. 2 in G Minor, opus 22, a standard but very difficult work in piano repertoire. The concerto showcased his of-course-phenomenal technique, but technique alone no longer distinguishes pianists. More importantly, his playing was vibrantly alive: expressive, meaningful and full of character. It was "authentic" in the original sense of the word.
Atamian's intense, hulking approach to his instrument seemed oddly reminiscent of descriptions of Beethoven, an impression reinforced by his playing. With fierce concentration, Atamian made the piano sing, growl, peal, declaim, dance and soar.
Their ensemble infallible, Atamian and conductor Darman communicated with subtlety and sensitivity. Darman, who described Atamian as a "free performer," provided the flexibility needed: his orchestra matched the piano perfectly in tone and at every turn.
Throughout the concert, Darman balanced precision and clarity with the colorful, passionate expression so typical of Spanish music. He opened with Joaquin Turina's Prayer of the Bullfighter, a work Darman called "mystical." Exquisitely wordless, the deeply felt prayer rose in crystalline clarity until it faded into the ether.
The concert's second half could have seemed anti-climactic after the Saint-Sans, but Darman's readings of Rimsky-Korsakov's Capriccio Espagnol, opus 34, and three dances from De Falla's Suite No.2 from his ballet The Three-Cornered Hat, were electrifying.
Lively music and Spanish dances enticed toes to tap and hearts to leap, but only timpanist Stuart Chafetz got to dance, bouncing as he played -- the envy of all who had to sit properly still.
Capriccio Espagnol, sometimes called a concerto for orchestra, and the De Falla work showcased numerous fine solos by virtually every principal chair in the orchestra. In fact, it is difficult to know where to stop the list of praise: brass choirs were strong; the entire percussion section shone; balance was excellent; even minor phrases were well shaped; etc.!
Suffice it to say that it was extraordinarily exciting and worth every minute.
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