Kogan's finale full of virtuosity, vitality

UTAH SYMPHONY, Abravanel Hall, Friday, additional performance tonight (355-2787)

This weekend's Utah Symphony concerts are significant not only for the stunning program but more importantly because they mark Pavel Kogan's final appearance in Abravanel Hall as the symphony's principal guest conductor. After six seasons, the management of Utah Symphony & Opera has decided that it is time for Kogan to leave the position, regardless of the fact that he has obvious audience appeal.

That charismatic energy that Kogan exudes whenever he is on the podium was clearly apparent Friday evening. The wild applause when he first appeared onstage and the boisterous standing ovation at the end are indicative of how local audiences feel about the Russian maestro.

Kogan's concerts have consistently been of the highest artistic caliber. Kogan is a consummate musician who never fails to imbue his interpretations with a bold freshness and vitality that isn't always present when others conduct the orchestra. Even though Kogan will return for two performances next season, his prolonged absence from the podium here will be acutely felt.

Kogan opened the concert in unique fashion. Instead of a brief piece, he presented four Rossini overtures — "Il barbiere di Siviglia," "Il Signor Bruschino," "La Gazza ladra" and "Guillaume Tell." Each of these overtures was characterized by a light and lively approach that was underscored by Kogan's trademark fast tempos. The pacing was taut but not heavy, and the playing was fluid and cohesive.

Closing out the concert was a luminous performance of Respighi's resplendent "The Pines of Rome." Kogan's reading captured the rich hues and vibrant colors of the score magnificently, and the symphony played it fabulously.

Between the quartet of Rossini overtures and the Respighi, the concert also saw the return of violinist and former music director Joseph Silverstein. He was the soloist in Paganini's infrequently played Second Concerto in B minor. Silverstein showed stunning virtuosity as he maneuvered his way through the intricacies of the score. He played the demanding work with ease, tossing off the double and triple stops and harmonics that pepper the score as if they were nothing out of the ordinary. It was sheer pleasure hearing him play this finely crafted work.

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E-mail: ereichel@desnews.com