A Night We've Been Waiting For

By: Lisa E.

3/28/08 

The Cleveland Orchestra returned to Miami to an audience full of expectation. Nicaragua-born conductor Giancarlo Guerrero stood at the helm in place of Franz Welser-Möst. Welser-Möst has not delivered the most consistent performances down in Miami. With Puerto-Rican born Robert Sierra's piece to open the concert and two Russian powerhouses to close, the program nearly mirrored many other programs of today: safe, well-known pieces save for the Sierra. But this didn't phase Guerrero or the well-seasoned Cleveland players.

After Sierra's rather lackluster piece, Fandangos for Orchestra, the Cleveland Symphony truly came alive. As soon as 36-year-old Midori, a Japanese child prodigy turned full-fledged artist, stepped onto the stage the night transformed into one of wonder. The sold out house sat transfixed as she turned Tchaikovsky's overplayed concerto into a work of novelty on the 1734 Guanerius del Gesu violin passed down from Ruggiero Ricci himself. During her cadenza, even the conductor and the Clevelanders hung onto her every note waiting in hungry anticipation. Her connection to the orchestra was electric, passing off Tchaikovsky's brilliant melody to each section with joy and flourish. The second movement truly showed her musical maturity as the sweet tone she rendered from the Guarnari violin filled the huge auditorium. Guerrero shocked even the most familiar with Tchaikovsky's concerto with his magnificently timed start of the Third movement. Midori's bow flew across the strings in a spiccato most would envy. The ovation at the end of her performance last for ten minutes and was certainly well-deserved.

The night was not yet over. Guerrero stood before the Cleveland players with no music before him, tension riddling his body. The orchestra was his instrument and he was a master musician. Victor Hartman was truly glorified through this rendition. Guerrero allowed the saxophonist to meander through the Old Castle with a hauntingly sweet tone. Goldenberg and Schmuÿle's squabble traveled through the orchestra under Guerrero's careful guidance. And Hartmann's vision for the Great Gate of Kiev was brought to life. There was not a person left seated after its completion. Guerrero was called back to the stage four times by the enthusiastic audience. It was the performance for which Miami has been waiting.