Classical Concert Reviews Cinci

@cincysymphony continued its 2025-26 season with the long-awaited return of @louislangree for his first convert as the orchestra’s Music Director Laureate, in a program headlined by one of Igor Stravinsky’s most popular ballet scores, Petrushka.
The orchestra opened with a luscious performance of blue cathedral by contemporary American composer Jennifer Higdon. Written to mark the 75th anniversary of the Curtis Institute in Philadelphia, it stylistically recalled many of the most well-known scores of James Horner and Hans Zimmer, with an emphasis on expansive percussion and lyrical string writing meant to inspire deep reflection.
Principal wind players Elizabeth Freimuth, Christopher Pell, Dwight Perry and Christopher Ssles joined for a vibrant and engaging reading of Mozart’s Sinfonia Concertante for Four Winds, a work the CSO had not played since 1988. Written during Mozart’s sojourn in Paris in 1778, it may not rank among his most well-known concerted works but is his most charming, aided immeasurably by the camaraderie that builds amongst the soloists, making the work more of a serenade than a concerto. Parry on oboe and Pell on clarinet deserve particular praise for their outstanding musicality.
Composed in 1911 and revised in 1947, Petrushka ranks among Stravinsky’s most frequently-performed works, telling the story of the loves and jealousies of three puppets as told during the annual Shrovetide Fair in St. Petersburg. Langrée and the CSO brought this story wonderfully to life, with effervescent strings, strong percussion snd a virtuosic piano solo by principal keyboardist Michael Chertock. Many of its more lyrical moments recalled the stylistic hallmarks of Maurice Rsvel (predating his ballet Daphnis et Chloé by one year) yet still maintaining Stravinsky’s own distinct style.
Looking forward to what I expect to be another fabulous return by Maestro Langreé in the new year. Bravi tutti!