The London Philharmonic Orchestra (LPO) took center stage in Santa Barbara’s 2024–2025 season, delivering a polished and captivating performance at The Granada Theatre as part of their U.S. tour. This concert was organized by UCSB Arts & Lectures in collaboration with the esteemed Community Arts Music Association of Santa Barbara.
The program featured a well-curated selection of works, ranging from a nuanced encounter with contemporary Cuban American composer Tania León, who is currently in residence with the LPO, to the powerful melodies of Tchaikovsky’s Symphony No. 4 and Dmitri Shostakovich’s Violin Concerto No. 1. Throughout the concert, Principal Conductor Edward Gardner maintained a fluid yet intensely focused direction, while the orchestra produced a rich and robust sound.
What made the concert particularly memorable was the dynamic presence of soloist Patricia Kopatchinskaja. The Moldovan-born violinist first captured attention in the region in 2018 when she stepped in for Esa-Pekka Salonen as music director of the Ojai Music Festival, and her fans were eagerly awaiting her return, which did not disappoint.
Kopatchinskaja is known for her unique style and unconventional interpretations, infusing her performances with a fresh perspective while respecting the compositions we thought we knew. Her rendition of Shostakovich’s concerto, originally composed in 1947–1948 for David Oistrakh but not performed until 1955 due to Soviet censorship, was particularly striking.
As is her custom, Kopatchinskaja performed barefoot, occasionally enhancing the performance with well-timed stomps. She navigated the dynamic extremes of the piece with remarkable skill, moving seamlessly from the delicate, whispered phrases of the mysterious Nocturne to the frenetic energy of the Scherzo and the dramatic cadenza, culminating in the lively choreography of the final Burlesque, where the ensemble and soloist engaged in infectious interplay.
This interpretation was both dramatic and cohesive, filled with surprises while maintaining a seamless logic that underscored Kopatchinskaja’s status as an exceptional talent among elite violinists. She deftly balances control and abandon, embodying a personal paradox as she captures both the essence of the music and her own spontaneous exploration.
Tania León’s 2023 orchestral work Raíces (Origins) showcases her remarkable ability to blend accessibility with experimental elements, creating a contemporary language that reflects her Latin American roots and jazz influences.
Raíces invites listeners into a unique sonic landscape, beginning with a dazzling array of gestures set against a loose rhythmic grid. It is a fleeting and enigmatic piece of inventive orchestral writing, where rhythms are subtly implied rather than overtly stated. The harmonic palette is primarily tonal and modal, punctuated by surprising moments of dissonance, such as a rogue piano passage. A dreamy vibraphone section guides the score to a gentle conclusion, complemented by the exotic sound of a chime made from animal nails.
After the cerebral exploration of the first half, Tchaikovsky’s Fourth Symphony felt somewhat nostalgic in comparison, though it was performed elegantly. Gardner and the orchestra delivered a confident and definitive reading, fully embracing the spirit of the work. The LPO expertly navigated the march-like vigor of the opening, the melodic beauty of the second movement, the lively pizzicato of the Scherzo, and the exhilarating rush of the Finale, which can easily sound chaotic in less adept hands.
As a tribute to the U.K., the orchestra concluded the concert with an encore, performing “Nimrod” from Edward Elgar’s Enigma Variations, played with heartfelt insight and sentiment.
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