Valčuha returns to ignite Houston Symphony in Britten, Shostakovich | EarRelevant

CONCERT REVIEW:

Houston Symphony
November 21, 2025
“Journey to Light”
Jones Hall
Houston, Texas – USA
Houston Symphony, Juraj Valčuha, conductor; Baiba Skride, violin.
Benjamin BRITTEN: Violin Concerto in D minor, Op. 15 (1939)
Dmitri SHOSTAKOVICH: Symphony No. 10 in E minor, Op. 93 (1953)

Lawrence Wheeler | 25 NOV 2025

Saturday evening, Houston Symphony music director Juraj Valčuha returned to Jones Hall after a two-month hiatus. On the program were two twentieth-century works written just fourteen years apart. Latvian violinist Baiba Skride was soloist in Benjamin Britten’s Violin Concerto, and Valčuha led the orchestra in Dmitri Shostakovich’s Symphony No. 10. Titled “Journey to Light,” the program felt more like “Dark and Darker.”

I must confess: it has taken me some time to write this review, as the experience was fairly overwhelming. The star of the evening was Valčuha, whose meticulous and intelligent interpretations brought the Houston Symphony—clearly his orchestra—to new heights of emotional expression and committed ensemble. His baton and arm motions became the music, which he clearly understood and felt deeply. The clean, slightly dry acoustics of Jones Hall demand extraordinary attention to detail from every musician, a task they fulfilled admirably, if not remarkably well.

Britten’s Violin Concerto was written in 1939, during the Spanish Civil War and as war between Britain and Nazi Germany seemed inevitable. The concerto embodies his pacifist sentiments as well as his deepening love for the tenor Peter Pears, who would become his life partner. To avoid the coming war—and possible imprisonment should his sexual orientation be revealed—Britten moved to Canada that April and then to New York. The concerto contains subtle echoes of Walton, Prokofiev, and Shostakovich.

Skride last appeared with the Houston Symphony nearly seven years ago. Since then, she has recorded the Britten to considerable acclaim. For that reason, this performance was especially anticipated. Skride is a sincere, unaffected, and inwardly expressive artist with a beautiful tone—an ideal fit for the concerto’s more lyrical sections. Technical issues surfaced in certain virtuosic passages, particularly extremely high notes and artificial harmonics that did not always speak. This may have been a mechanical rather than technical issue, perhaps the result of her sensitive Stradivarius adjusting to Houston’s climate after arriving from Europe. It was also evident in forte notes high on the G string, where the tone broke more than intended. These were relatively minor distractions; in the end, technique served musicality, and that primary goal was achieved.

Valčuha led a finely honed accompaniment in one of those rare cases where the orchestra sounded more secure than the soloist. The violins played with polish; ostinato eighth notes in the lower strings and bassoons were crisp and taut; clarinet and trumpet were perfectly aligned, as were piccolo and tuba.

Shostakovich wrote his Tenth Symphony shortly after the death of Joseph Stalin. While that event might have been cause for relief, the composer was likely still suffering the residual trauma of living under the dictator’s rule. Dark undertones bring to mind Houston’s Rothko Chapel. Ice-cold emotions alternate with fiery passages of mock triumph.

Spurred on by an inspired Valčuha, the orchestra achieved a wider range of emotions and dynamics. Having now grown accustomed to the hall’s improved acoustics, the musicians played exceptionally well together. With apologies, there are simply too many to mention individually, but special recognition is due to Yoonshin Song (violin), Matthew Roitstein (flute), Jonathan Fischer (oboe), Mark Nuccio (clarinet), Rian Craypo (bassoon), and William VerMeulen (French horn). The violins were brilliant in the second-movement scherzo; the violas offered a chocolatey solo in the third; and brass and percussion provided a thrilling finale.

It is often said that people may not remember what you said, but they will remember how you made them feel. This was the kind of concert that made you feel something unforgettable. ■

EXTERNAL LINKS:

Houston Symphony: houstonsymphony.org
Juraj Valčuha: jurajvalcuha.com
Baiba Skride: houstonsymphony.org/musicians/baiba-skride

About the author:

Lawrence Wheeler was a music professor for 44 years. He has served as principal viola with the Pittsburgh Symphony, Minnesota Orchestra, and Houston Grand Opera Orchestra, and guest principal with the Dallas and Houston symphonies. He has given recitals in London, New York, Reykjavik, Mexico City and Houston, and performed with the Tokyo, Pro Arte and St. Lawrence string quartets and the Mirecourt Trio. His concert reviews have been published online on The Classical Review and Slipped Disc.

Read more by Lawrence Wheeler.