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“A spoonful of sugar makes the medicine go down,” the opening line of a breezy song from a child-friendly movie of yore, sprang to mind when I perused Friday’s (Feb. 8) San Diego Symphony program. An obscure, 30-minute tone poem “Mississippi River Suite” by the nearly forgotten African-American composer Florence Price was the medicine, and Rimsky-Korsakov’s numbingly familiar “Scheherazade” was the spoonful of sugar on Taiwanese conductor Mei-Ann Chen’s prescription for her inaugural appearance on the local podium. Between these two tone poems, the orchestra’s Principal Horn Benjamin Jaber came front and center to give his take on Richard Strauss’…
Together, Moxie Theatre and Mo’olelo Performing Arts make a potent combination, resulting in a vibrant telling of a story by a living Nobel Laureate.
Is there a living violinist other than Gil Shaham I would rather hear perform a solo recital? The unhesitating answer is no, even considering the bevy of stellar contemporary violinists that quickly come to mind. Shaham and his superb Japanese accompanist Akira Eguchi gave a brilliant—make that transcendent—program at Copley Symphony Hall Thursday (Feb. 7), a balance of classic and new repertory whose masterful execution was exceeded only by their evident conviction of the significance of their offerings. Opening with J. S. Bach’s Partita No. 3 in E Major for Solo Violin, BWV 1006, and closing with Beethoven’s A Major…
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