Principal trombonistMegumi Kanda's extended solo wasnot only the playing of a true artist, but expressed the dignity and power ofher instrument. Mezzo-soprano Kelley O'Connor is the only concert/oratoriosinger I have heard who conjures memories of the great Maureen Forrester, aperformance endowed with sophisticated warmth.
De Waart's hallmark abilityis to let the score fully and richly speak for itself. He is not an emotionalconductor, yet in his best performances, such as this, emotion emerges for noother reason than because it is there in the music. I have written often abouthis impact: refinement of section sounds, more unified ensemble, clarity oftextures, and the master's touch in phrasing and architectural shape. The MSOis not yet all it can be. Honestly, that will take a few changes in players.But under de Waart it is well on the road to becoming remarkable among Americanorchestras.
Non-Mahler high points of de Waart's conductingthis season were an unforgettable Bartók's Bluebeard'sCastle, Tchaikovsky Symphony No. 6, and a thrilling March performance ofBeethoven Symphony No. 6. Beyond de Waart there were other MSO highlights:Yo-Yo Ma in the Schumann concerto and the duo encore when he switched celloswith Joseph Johnson; John Adams' powerful DoctorAtomic Symphony led by Giancarlo Guerrero; and pianist Simon Trpceski inSaint-Saëns Concerto No. 2, the standout soloist of the season.
Several retiringmusicians were deservedly recognized on Sunday after decades of service:violinists Dorothy Diggs, Andrea Leung and Patricia Mumm-Lovely; trombonistGary Greenhoe; percussionist Linda Raymond Siegel. It was beyond poignant tosee the superb principal hornist William Barnewitz, who has Parkinson'sdisease, retire from MSO. We will miss his glorious sound. Vaya con Dios.
