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SCRUTINY | Goodnight Means Goodbye at the National Arts Centre Orchestra

By Michael Vincent on June 22, 2015

Amanda Forsyth and Pinchas Zukerman (Photo: Tony Hauser)
Amanda Forsyth and Pinchas Zukerman (Photo: Tony Hauser)

[Originally published in the Toronto Star]

National Arts Centre Orchestra with conductor Pinchas Zukerman, pianist Jan Lisiecki, and guests.  Salle Southam Hall, National Arts Centre, Saturday.

Ottawa – It is the end of an era for Canada’s National Arts Centre Orchestra (NACO). After 16 years, renowned conductor and violin virtuoso Pinchas Zukerman has officially stepped down from his role as Music Director.

He and his long-time partner, NACO principal cellist Amanda Forsyth, are the closest things to classical music royalty in Canada, and it is no small thing to say goodbye.

Zukerman challenged the NACO from day one by expanding the orchestra to 61 players and introducing more varied repertoire. He created a thriving Summer Music Institute, which has developed into a right of passage for many young Canadian orchestra musicians and composers (including myself). He also pressed for national and international tours and more recordings, which helped establish the NACO not just as Ottawa’s orchestra, but Canada’s orchestra.

To mark the farewell, Zukerman took the stage on Saturday night for a programme titled “Beethoven’s 9th.”

After a short video and series of recognised speeches by board members and orchestra musicians, the formality seemed to weigh heavy on the celebratory spirit. Someone seated near me leaned in, “you’d think he was dead”. Accolades always seem to go smoother when mixed with a curl of humour, and this would have helped quell the sombre introductions.

Opening with Mozart’s Piano “Coronation” Symphony, both Zukerman and soloist Jan Lisiecki marched in to greet the cheering crowd. In all reality, they probably could have stood there and played chopsticks all night, and the sold out audience would have cheered all the same.

It was a rather brusque, down to business performance. Lisiecki explored various tempi with shades of Glenn Gould’s lingering style. The second movement was taken slowly, which would have been fine if it were shorter, but at the 7-minute mark, it was sucked up into a vacuum with the audience along with it.

Allowing his velvet runs to sleek over the hall, Lisiecki faired much better with the quicker movements. Zukerman provided the contrast and a thoughtful interchange with various dynamics shifts against the solo piano sections.

After an intermission, Beethoven’s 9th (a favourite of Zukerman) proved to be the real kicker. The orchestra came in with a rejuvenated verve expressing thanks to Zukerman for the many years of joyful music. Soprano Arianna Zukerman, mezzo Wallis Giunta, tenor Gordon Gietz, and bass-baritone Robert Gleadow, and a full Chorus all gave a stunning “Ode to Joy”.

A serenade by the orchestra and children’s chorus closed the night with “Brahms’s Lullaby” to a clearly touched Zukerman. Along with Forsyth, the two left with arms full of flowers – and 16 years of memories to follow.

#LUDWIGVAN

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Michael Vincent
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