Kansas City Symphony - Concert #1

With the opening of the new Kauffman Center for the Performing Arts, the Kansas City Symphony's 2011-2012 season has been much anticipated over the summer months. I personally decided to splurge and buy season tickets, for two reasons: 1) I didn't want to miss a note in this spectacular new hall, and 2) I wanted to ensure that I could attend as many concerts as possible, not knowing how quickly tickets would sell. Having attended the first concert, I think it was an decision I will not regret.

The new Kauffman Center is impressive, to say the least. Even the parking garage gives the aura of sophistication. The tunnel from the garage provides easy access to the Center, but once you emerge into the main lobby, the real sense of awe hits you directly in the face. The glass wall and ceiling soar above the Brandmeyer Great Hall, and the pure white walls provide a very clean backdrop for the masses of patrons present for the concert.

Helzberg Hall is one of the two performance spaces in the Center, and is the new home of the Kansas City Symphony. Merely walking in and beholding the new hall gave assurance that this was, indeed, a top-notch facility. The most highly-touted aspect of the hall, however, was its acoustical quality, and it certainly did not disappoint. The opening speeches by Shirley Helzberg, Frank Byrne, and Michael Stern were given without microphones, showing off the acoustical capabilities of the hall. The speeches were only the beginning of the showing off, though: throughout the evening, I found it very easy to hear viola harmonies, second clarinet parts, and just about anything else I wanted to hear. Fortunately, no cell phones rang during the performance, which reportedly happened the previous night.

Now for the music. After a rousing rendition of The Star-Spangled Banner, the concert program officially opened with Stravinsky's Fireworks, a fitting title for the occasion. Not being familiar with the piece, I was expecting something slightly more majestic, but it proved to be appropriate, nonetheless. The piece starts small, gradually adding instruments to the mix, and finally ends with a bang.

Next up was Beethoven's Fifth Piano Concerto, the "Emperor" Concerto, with Emanuel Ax as the soloist. The balance between piano and orchestra was superb. Emanuel Ax is a master in all regards, and his performance was exquisite. My personal favorite moment during the concert was the opening of the second movement. The lush sound of the perfectly-in-sync string section was wonderful. Yes, as a string player, I'm probably biased, but I had noticed the high quality of the string section in previous years, and Helzberg Hall only serves to showcase their sound even better. The stellar collaboration of master pianist and blossoming orchestra deservedly received a standing ovation.

After intermission, the program turned to new music. The Symphony had partnered with the University of Missouri-Kansas City to commission the UMKC Conservatory's composition professor Chen Yi to write a piece specifically for the celebration of the Symphony's new home and new season. The piece was entitled Fountains of KC, but unfortunately turned out to be the only disappointment in the program. I'm always interested in hearing new pieces, but this one did not evoke the mood of celebration that I was expecting. Instead, it was a rather dark piece that seemed to wander here and there without any real direction. Though I've read several positive reviews on the piece, it seemed obvious at the concert that the audience was not particularly thrilled. The applause was polite at best.

The last piece programmed was The Pines of Rome by Ottorino Respighi. The grand showpiece was the perfect ending to the evening. Every section of the orchestra had its moments of glory, including a few brass players placed in strategic locations in the audience. The rousing finale led to a thunderous ovation, after which we were treated to an encore, the Hungarian March of Hector Berlioz.

Overall, it was an unforgettable experience, and like many others, I can hardly wait for the next concert. Three more weeks seems a long way off!