November 21 & 23, 2024
Atlanta Symphony Hall, Woodruff Arts Center
Atlanta, Georgia – USA
Atlanta Symphony Orchestra; Nicholas Carter, conductor; Geneva Lewis, violin.
Josef HAYDN: Symphony No. 96 in D major, Hob. I/96 (“The Miracle”)
Wolfgang Amadeus MOZART: Violin Concerto No. 3 in G major, K. 216
William WALTON: Symphony No. 1 in B♭ minor
Mark Gresham | 22 NOV 2024
In his Atlanta Symphony Orchestra debut on Thursday night at Symphony Hall, guest conductor Nicholas Carter brought precision and insight to a program spanning Austrian Classical to British 20th-century. With works by Haydn, Mozart, and Walton, Carter demonstrated a sensitivity to orchestral detail and command of long-form musical narrative, resulting in a performance worthy of high praise.
The evening opened with Josef Haydn’s Symphony No. 96, nicknamed “The Miracle,” which unfolded with elegance and energy under Carter’s direction. The first movement began with a suspenseful introduction that burst into lively, overlapping themes, setting an animated tone. The second movement was graceful and lilting, with a richly layered middle section before returning to a lighter touch. The third movement, a cheerful minuet, featured a warm, extended oboe solo played by associate principal oboe Zachary Boeding. The symphony wrapped up with a brisk, joyful finale, weaving elements of rondo and sonata form for a dynamic finish.
Performing Haydn before Mozart highlighted the influence “Papa” Haydn had on his young contemporary. Through the ASO’s handling of Haydn’s refined classical structures and style, listeners could appreciate how Mozart would build upon this foundation and extend it.
Geneva Lewis (credit: Matthew Holler)
Carter’s nuanced approach continued into Mozart’s Violin Concerto No. 3, where he collaborated seamlessly with violin soloist Geneva Lewis. The conductor and soloist appeared to share a unified vision, particularly in their balance between orchestra and soloist. While Lewis did not deliver the most powerful sound, her technical skill and interpretive choices shone through, particularly in the concerto’s lighter, more lyrical passages. Her sound remained present, with Carter skillfully managing the orchestra’s dynamics to maintain balance without muting its sonic character. However, Lewis faced some minor issues with bow control early in the performance, leading to a few unintended string scratches.
What was most satisfying was that Haydn sounded like Haydn, Mozart like Mozart, in contrast with music director Nathalie Stutzmann’s heterodox approach to Mozart’s Symphony No. 40 two weeks ago. Nor were they “zombie” performances that are historically “correct” but unmusical. Instead, the audience got Classicism in full bloom — style, phrasing, balance, and detail.
The program concluded with an exceptional performance of William Walton’s Symphony No. 1, a work seldom heard in Atlanta Symphony programs. The last time was in May 2013, with then-principal guest conductor Donald Runnicles.
Carter’s operatic background was evident in his treatment of this substantial, often tempestuous work. He showed a keen understanding of its long-form architecture, creating a dynamic arc that held tension across movements, reaching a rousing conclusion that was grand but did not wallow in bombast, instead delivering its most forceful moments with energized focus.
The ASO musicians responded to Carter’s conducting with energy and polish, delivering a compelling performance. Each orchestral section — woodwinds, brass, strings, and percussion — was expertly woven into the rich tapestry of Walton’s challenging score, showcasing the ensemble’s technical prowess. The entire evening again demonstrated what this orchestra is capable of with the right leader on the podium. ■
The Atlanta Symphony Orchestra repeats this program on Saturday, November 23 at 8:00pm.
EXTERNAL LINKS:
- Atlanta Symphony Orchestra: aso.org
- Nicholas Carter: intermusica.com/artist/Nicholas-Carter
- Geneva Lewis: genevalewisviolinist.com
Read more by Mark Gresham.
.png){kind=logo}