ASO: Emmanuel Villaume with Andrew von Oeyen

Emmanuel Villaume’s conducting style as he lead the Atlanta Symphony Orchestra last night seemed to be heavily influenced by Tai Chi and he complemented his hand signals with very loud breath cues. I thought it was really annoying and found him more distracting than any coughing or whispering or seat kicking that I heard the entire evening. It was enough that I’m not likely to give him another shot if he’s programmed again in the future.
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The Merian Ensemble: ASO Pre-Concert Chamber Concert

I was originally planning on attending the Saturday performance of the ASO, but Thomas Søndergård is conducting again and I just don’t like his work. I ended up holding off on donating the ticket back, though, so that I could attend the chamber concert of the Merian Ensemble that was scheduled to proceed the ASO’s Thursday performance. The Merian Ensemble is dedicated to bringing the works of women composers to audiences and, even though they’ll be staging a more fleshed out program on the 17th at the Schwartz Center, I wasn’t going to turn down a chance to hear a program of music that I’d never heard before.
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ASO: Thomas Søndergård with Blake Bouliot

I decided to leave at intermission rather than suffer more of Søndergård’s soulless Sibelius. I love Sibelius when played well, but played poorly his work can be terribly boring. I’d say that I was disappointed, but my expectations weren’t high given that this wasn’t the first time that I’ve heard him with the ASO and the two times that have occurred since I started keeping this journal were also fairly poor performances. Two and a half concerts worth of my time is enough; I’ll not be using my ticket for next week’s performance featuring him on the podium even though the program is really interesting.
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ASO: Karina Canellakis with Itamar Zorman

I don’t think it would be hyperbolic to say that the Atlanta Symphony Orchestra’s performance conducted by Karina Canellakis was the best performance of the Leonore Overture No. 3 that I’ve ever heard live in concert. It was vibrant, vivacious, exciting, dramatic, and a lot more fun to listen to than most of the performances that I’ve heard. It felt very fresh and the orchestra was very together, creating a sharp and clear sound that really brought the piece to life.
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ASO: Robert Spano with David Coucheron

I debated whether or not to go to the Atlanta Symphony Orchestra’s concert last night. I’m still in the mourning period for my mother and, according to tradition, I’m supposed to avoid listening to music. However, doing so was starting to make me feel like a prisoner to my grief and, besides, there are a few other rules that I have set aside due to practical concerns. The concert was very good so I’m glad that I did go.
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ASO: Robert Spano with Jorge Federico Osorio

The first piece on the program was Krists Auznieks’ Crossing. Aside from a few pieces that I found online when I looked him up earlier this week, I don’t believe that I’d ever heard anything by him so I really didn’t know what to expect. It turns out that I was absolutely delighted by this piece. It started kind of like an overture to some pastorale and I got an image in my head of a protagonist going out onto a meadow to do a Maria-Hills-Are-Alive thing but then tripping and falling. They get back up and try again only to run into a cliff face. So they turn another direction and find that they’re wandering out of the meadow and onto rocky, unpleasant terrain. Through obstacle after obstacle the protagonist tries to stay positive and to do their little turn in the meadow but a sinister undertone grows underneath their theme and things keep going in a different direction. Eventually the protagonist hits their breaking point and has a “What new hell is this?!” moment where they can no longer maintain a positive outlook. By the end they are defeated, reliving a dark, warped vision of the whole thing in their broken mind. It was such an evocative piece that I found myself smiling and suppressing chuckles in the early parts of the piece and by the end I was really concerned for my imaginary protagonist whom Auznieks was leading into such a miserable place.
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ASO: Robert Spano with a Pre-Concert Chamber Recital

Tonight’s Atlanta Symphony Orchestra concert was one with a pre-concert chamber recital. I barely made it in time for it, so this was the first time that I didn’t get to sit on stage with the musicians. Instead, I was in my assigned seat, though I didn’t realize it at the time; it just seemed like a good position so I sat there. The acoustics weren’t horrible for the most part: there was really only one piece that suffered a little because of it.
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