Tag Archives: Eric Hewitt

Operatic Pops Take On New Luster at MIdcoast

Midcoast Symphony
Franco Center, Lewiston
March 18, 2017
by Christopher Hyde

Mark Twain would have loved Saturday night’s concert of the Midcoast Symphony Orchestra at Lewiston’s Franco Center.

Twain famously remarked that the trouble with opera was sitting through interminable periods of non-musical scene-setting to get to the good parts. On Saturday, the orchestra, under the direction of guest conductor Eric Hewitt, played nothing but the good parts.

One striking aspect of the performance was how much the good parts are sort of a Cliff’s Notes of the opera as a whole, epitomizing , if not the plot, then the emotional atmosphere of the work. Could it be that the composer himself merely used the libretto as an excuse for whatever arias he had in mind?

The Intermezzo from Puccini’s “Manon Lescaut,” for example, tells all one needs to know about the principal character and her fate. It was lushly Romantic and tragic at the same time, played with just the right amount of reserved emotion and tragic portent.

The orchestra entered into the spirit of the works, all quite familiar, with much more enthusiasm than is characteristic of professional (by that I mean for-pay) ensembles. Their interpretation of the “Liebestod” from “Tristan und Isolde” should never have been allowed in mixed company. It is the most graphic depiction of intercourse, raised to the level of religion, ever composed. The climactic measures were earth-shattering,  the best I have ever heard, (and I dislike Wagner with equal passion).

Another aspect of these operatic works is the extreme difficulty of the orchestration. Many of them were re-composed as display pieces, poster children for the operas themselves. Richard Strauss’ Waltz Sequence No. 1 from “Der Rosenkavalier,” (Opus 139), which concluded the program, is the orchestral equivalent of a Godowski piano transcription of “The Blue Danube,” by another Strauss, quite impossible to play. The Midcoast did it anyway, and aside from a few minor glitches, managed it admirably, once again creating a perfect impression of the opera as a whole, as well as illustrating Strauss’s excessive love of the French horn.

I could hear Baron Ochs, besieged in a tavern by a flock of his illegitimate offspring, shouting “Papa. papa,” and muttering to his servant: “Leopold, wir gehens.”

The longest work of the evening was BIzet’s “Carmen” Suite, No. 2, in an arrangement by Ernesto Guiraud which includes some of the lesser-known interludes. It was also very well played, with an authentic Spanish-French flavor and virtuoso work by the trumpet and piccolo.

The regular conductor of the Midcoast, Rohan Smith, was playing in the violin section. I don’t know if he will appear at this afternoon’s concert at the Orion Center in Topsham, but it will be well worth attending in any event.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached a classbeat@netscape.net.

Midcoast Symphony Excels at Pops

Midcoast Symphony Orchestra
Orion Performing Arts Center, Topsham
Mar. 20, 2016
by Christopher Hyde

Finally, a real pops concert; popular favorites from the classics, rather than the usual uncomfortable combination of rock band and symphony, in which both sides lose.

It took the Midcoast Symphony Orchestra, under guest conductor Eric Hewitt, to do it right, and judging by the capacity crowd Sunday at the Orion Performing Arts Center, the audience is there for it. There was not a parking place within a half mile of the hall.

The afternoon got off to a shaky start, with some sour notes in the andante opening of Rossini’s “William Tell” Overture, but by the time the Lone Ranger theme came along, the players had caught fire and never looked back. During the finale, Tchaikovsky’s “1812 Overture,” they sounded like the Vienna Philharmonic, but with more brio.

The theme of the march, deliberately or not, gave the program continuity. The Napoleonic quick march (I forget the name of it), appeared in the Berlioz “March to the Scaffold” from his Symphonie Fantastique, as well as the “1812 Overture,” while more standard military versions were heard in the Radetsky March of Johann Strauss the Elder, and in Gounod’s “Funeral March of a Marionette.” The latter included some fantastic work by the woodwinds.

The obligatory nod to movie music came in the form of Gershwin’s “An American in Paris,” and John Williams’ Overture to “The Cowboys.”

The more I hear the “1812,” (with or without cannons) the more I marvel at how good it is. It transcends the categories of occasional and commissioned work by light years, and is one of the most well composed of Tchaikovsy’s works as well as the most inspired.

Its use of anthems, hymns and folk music to characterize the French and Russian adversaries before Moscow is masterful and can be appreciated as well by a first-time listener as by the most experienced musical professional.

From the warm, intimate cello hymn at the beginning to the frantic pealing of the bells of Moscow in the wind-driven flames, the orchestra was superb. It well deserved a resounding ovation and conductor Hewitt his bouquet from two charming little flower girls.

Let’s do this again soon.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.