Only the first three rows of seating in Moeser Auditorium in Hill Hall were empty for this Scholarship Benefit Concert. Extended family and friends of the four winners of the UNC Concerto Competition and of the members of the University of North Carolina Symphony Orchestra had packed the hall. Guest conductor aside, all the works were under the effective leadership of music director and conductor Tonu Kalam. There were frequent changes of players and stage seating to make room for solo instruments.
The ethereal music of the Prelude to Act I of the opera La traviata by Giuseppe Verdi (1813-1901) opened the concert. The violins played the hushed pp opening in their highest register gorgeously. The full strings joined in a rich statement of the unforgettable principal melody that haunts the entire opera. Memorable was the episode in which the rich sounding cellos, paired with clarinet and bassoon, took up this theme while the violins conjured a dance-like accompaniment above the theme.
Next came one of the many works by double-bass virtuoso/composer Giovanni Bottesini (1821-89). His Fantasia on themes from Lucia di Lammermoor of Gaetano Donizetti (1797-1848) is one of his best-known pieces, and it found concerto winner Adam Maloney in two roles: soloist and arranger. He orchestrated the accompaniment for strings alone. Bottesini challenges the players’ control of intonation and of articulation, both at extremes of the bass’ range as well as at high speed. Maloney produced a full, warm tone and kept the extreme high harmonics, played close to the bridge, remarkably clear and in tune. A highlight was the marvelous sextet episode from the close of Act II. The senior from Raleigh is a student of Bob Anderson. Besides his classical studies, Maloney works as a jazz player throughout the Triangle and tours and records with Ellis Dyson and the Shambles.
Next came a set of real show stoppers, a magnificent performance of key character defining scenes from Act II and Act III of Manon by Jules Massenet (1842-1912). Manon’s aria, “Adieu, notre petite table” from near Act II is her remembrance of her life with Des Grieux before she leaves him for riches. Her bravura Act III entrance aria, “Je Marche sur tous les chemins” finds her wallowing in material success while “Obéissons quand leur voix appellee” is her ode to basking in the moment of youth. Soprano Madeline Edwards delivered a marvelous, polished performance, fully conveying the character of the ultimate “Material Girl,” Manon. Edwards’ diction and intonation were superb. Her tone was warm with a fine palette of color. Her control of dynamics was excellent. Her trills were thrilling, and her closing gavotte was breathtaking.
Edwards, a native of North Carolina, is a recent Kenan Music Scholar UNC graduate with a Bachelor of Arts in Music Performance. Among her teachers were Dr. Louise Toppin, Dr. Jeanne Fischer, and UNC School of the Arts’ Dr. Marilyn Taylor. Important orchestra solos were played stylishly by cellist Devin Cornacchio and flutist Katherine Gora Combs.
A rousing, red-blooded opera overture to Der Freischütz by Carl Maria von Weber (1786-1826) opened the post intermission portion of the concert. Conductor Shelley Livingston has had an extensive musical career as violinist, chamber music coach, with twenty years as Principal Second Violin of the Durham Symphony of which she has been appointed Assistant Conductor. Her experience was evident in her confident control of the shifting moods of the overture, forest murmurs, shuddering string tremolos, the eerie plucked basses’ portrayal of the evil Samiel, and forest’s storm haunted with demons and ghosts. Strings responded superbly with outstanding, unified horn choirs. The key clarinet solo was excellently played by Andrew Huang.
Next came the Concertino for Marimba, Op. 21 by Paul Creston (1906-85) played in reverse order of its movements: II. Calm and I. Vigorous. The marimba is my least favorite instrument, but Daniel Winecoff, a junior from Salisbury, NC pursuing a Bachelor of Science in biology with a second major in music, made an impressive performance with his confident mallet technique and strong rhythmic control. He is studying with Juan Álamo. Important orchestral solo contributions were had from flutist Abby Jean Bergman, bassoonist Skye Satz, oboist Jack Livingston, and Emily Kramer on horn.
There were plenty of keyboard ivory fireworks in the final performance, the opening Allegro – Andante from Piano Concerto No. 3 in C, Op. 26 by Sergei Prokofiev (1891-1953). Soloist Margaret Lynch is a senior Kenan Music scholar from Charlotte, NC, pursuing a Bachelor of Music in piano with a minor in Hispanic Studies. Lynch brought plenty of power and refinement to the almost continuous solo part. Bravura passages in triplets were amazingly clear. Her tone was warm with careful attention to color and dynamics. The important first statement of the theme by the solo clarinet was beautifully spun out by Andrew Huang.
