Violinist Midori shines with expression

MIDORI WITH THE UTAH SYMPHONY, Abravanel Hall, March 7, additional performance tonight, 8 p.m. (355-2787)

Romantic emotions and Edwardian sensibilities meet at this weekend's Utah Symphony concerts.

However, the real draw this weekend is the long-awaited local debut of Japanese violinist Midori. The celebrated artist, who is marking her 20th anniversary of performing in public, was featured in Elgar's Violin Concerto.

Midori is a remarkable performer. She plays with a wide range of expression and passion, and at Friday's performance, she captured the emotional intensity of the Elgar beautifully. It was as if this concerto was written expressly for her.

When Midori plays, it's as if she's in her own world. This becomes a fabulous experience for the listener, but can be problematic for the conductor. For example, Midori's pianissimo is one of the softest and most expressive you will ever hear. But unfortunately, this caused her to be overpowered incessantly by the orchestra.

The collaboration between her and Keith Lockhart, who conducted the concert, was not very successful. Lockhart could simply not get the Utah Symphony to match Midori's playing in terms of dynamics and expression. This was unfortunate, because the Elgar concerto is an intricately layered score that relies on a subtle interplay between orchestra and soloist. Midori imbued her part with an almost chamber-like quality that Lockhart found difficult to match. The result was that at times it felt as if the two were working against each other rather than together.

This problem was most noticeable in the opening movement. The second movement came across much better. Lockhart and Midori were able to bring out the intimate character of the music, and the performance was sensitive, heartfelt and expressive.

In the finale, Lockhart and Midori captured the drama that unfolds here. It was a dynamic and vibrant performance that nevertheless emphasized the expressive lyricism of the music.

Lockhart and the orchestra opened the concert with Brahms' Symphony No. 3. The Third is one of the composer's most consistently lyrical works. Lockhart brought out this quality in his interpretation. In fact, it was a remarkably subdued performance, so much so that it came across as a colorless, unemotional exercise. The Third is not one of Brahms' more passionate works, but Lockhart's interpretation would have benefited tremendously through a more dynamic and forceful approach.

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E-mail: ereichel@desnews.com