Violinist Elena Urioste is an extraordinarily talented youthful performer. Hovering around 30 years old, Urioste has already performed with many of the world’s major-league orchestras, conductors, soloists and ensembles. Her calendar is jam packed with appearances everywhere. Having her find time in her hectic schedule to perform with the Williamsburg Symphony Orchestra. Saturday in Phi Beta Kappa Hall, was a big deal.
Not meaning to wade into socially or politically sensitive waters, but the oft-cited press claims of her beauty are as fully accurate as are the same press claims of her amazing, sensitive and dynamic performances.
The vehicle chosen for this event was the too frequently and universally programmed Tchaikovsky Violin Concerto in D major and not, unfortunately, the sumptuous, and less universally programmed, Korngold Concerto in D major, as once advertised. While admitting disappointment, I must declare that the Tchaikovsky, at Urioste’s talented doing, was extremely exciting. In fact, competitively, it was one of the most energetic and sensational live performances you’d want to hear, anywhere.
Urioste set the piece on fire right from the opening movement, the conclusion of which, either out of the thrill of the moment or the thought that the piece was over, generated sustained applause and shouts of approval. After Urioste’s gesturing for quiet and director Janna Hymes’s vocal explanation that there was more to come, both proceeded to deliver a poignantly done Canzonetta which led into the wildly technical Finale, where Urioste’s brilliant virtuoso and lightening fast fingering skills came into play and dazzled the audience, again, at the rightful conclusion, drawing vocal cheers and applause for an electrifying performance.
Hymes skillfully coordinated the ebb and flow of line between the soloist and orchestra, the latter which was dutifully supportive and sensitive in its accompaniment, as well as sparkling in its more virtuoso moments, of which there were many. This was a top notch endeavor and a downright thrilling one.
In the way of continued pyrotechnics, the evening closed with Tchaikovsky’s Symphony No. 4 in F minor, one of the big time warhorses of symphonic literature. I know this piece intimately, having performed it a number of times. There was absolutely nothing missing from this playing; it was a performance any orchestra would have been proud to have produced. From start to finish, it embraced the work’s deep passion, lush lyricism, and electrically charged spirit. Hymes and company owned this piece and turned out an amazing and totally focused effort that again brought the house to its feet.
The evening opened with Manuel de Falla’s colorful Spanish-influenced Suite No. 2 from “Three-Cornered Hat.” Its playing was appropriately colorful and perfectly placed.
This concert was proof of the need for a WSO home base such as PBK. The sound generated in the acoustically fine hall allowed the sound of the enlarged orchestra to surround the listener and invite them to join the action. It was pure sound without the Kimball’s electronic enhancement. Here there was a palpable sense of involvement and immediacy that markedly and positively changed the listening experience.
The combination of the large stage, large orchestra, large audience and excellent acoustics resulted in one of the orchestra’s absolutely best-yet stimulating performances. What a difference a hall can make. Would that it could be permanent.
Shulson, a Williamsburg resident, has been covering the arts for over 40 years. He makes a guest appearnce in Margaret Truman’s “Murder at the Opera.”
