By Robert D. Thomas
Los Angeles Newspaper Group
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
Every time Nicholas McGegan (pictured right) conducts the Pasadena Symphony we learn something new about this 65-year-old native of England who last Saturday completed his first year as the orchestra’s Principal Guest Conductor.
From a witty, erudite Q&A with PSO President and CEO Laura Unger preceding Saturday afternoon’s concert at Ambassador Auditorium, we learned a good deal about the opening work, an 18th century ballet suite from the opera Naïs by Jean-Philippe Rameau, including how to recognize the work’s end. McGegan — ever beaming his cherubic smile — delivered a condensed version of the intro before leading a sparkling performance by the orchestra that featured Theresa Dimond grinding a massive wind machine and then ending the work with a tambourine smack.
One thing we had learned from previous concerts is that McGegan likes his tempos fast, and that was evident in the opening movement of Beethoven’s Symphony No. 6 (Pastoral). Things quieted down in the second movement, which was notable for lyrical, silky strings. McGegan played a game of “How well do you know your Beethoven?” by adding a measure of music at the end that Beethoven wrote after the piece was en route to the printer.
Tempos picked up again in the third movement. Perhaps this wasn’t the best choice, as there was not as much contrast with the “Storm” section as at least this listener would like. Overall, this was a sunny, breezy performance of this much-loved work, notable particularly for smart playing from the winds.
In his preconcert remarks, McGegan noted that every time he sees the soloist, 16-year-old violinist Geneva Lewis (Ieft) she has grown an inch or two — “I need the podium to stand on,” he joked. Her PSO debut vehicle was Mozart’s third violin concerto, a piece written when the composer was age 19, which meant, said McGegan, that “we have music written by a teenager played by a teenager.”
Actually, Lewis played like someone much older than her 16 years. Using a 1991 violin made by Arkansas luthier Terry Borman, on loan from the Doublestop Foundation courtesy of acclaimed Chinese violinist Cho-Liang Lin, Lewis produced luxuriant tones in the middle and lower registers and a silky, sweet tone on top with remarkably consistent and lyrical runs and trills throughout the performance.
She maintained almost constant eye contact with McGegan (there were several sly grins between them in the third movement) and the two, along with the orchestra, combined for a gentle, graceful performance of this sunny work.
A student at The Colburn School for the Arts of PSO Concertmaster Aimee Kreston (who didn’t join the orchestra for this piece), Lewis played cadenzas written by noted musicologist Robert Levin in the 1980s for Gidon Kremer and delivered them with aplomb. The future looks very bright for this young Irvine resident who looks to join the ranks of Midori and others as someone PSO patrons can say in years to come, “We heard her when.”
• The final concert of the 2014-2015 classics series takes place on May 2 at Ambassador Auditorium. Music Director David Lockington will conduct Christopher Rouse’s Rapture, the two suites from Prokofiev’s ballet Romeo and Juliet, and Grieg’s Piano Concerto, with Venezuelan pianist Gabriela Martinez as soloist. Information: www.pasadenasymphony-pops.org
(c) Copyright 2015, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.