Word: musicalities
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...Friday, one cello filled the vast expanse of Sanders Theatre with music, passion, and drama...
...times, the HRO’s performance of the “Overture” seemed a bit too restrained. The piece was technically sound, but the performers could have had more fun with the jazzy intricacies of the music. It ultimately left the listener yearning for Harbison’s lively rhythms to fill the whole theatre...
...then came the main event. Antonin Dvorak’s “Cello Concerto in B minor,” featuring Koh’s solo performance, was undoubtedly the highlight of the evening. Truly a vessel for the music, Koh moved with the orchestra and with the conductor, his closed eyes suggesting deep emotion and intense concentration etched across his face. Koh moved his arms with fluidity and athletic agility, his fingers nimbly scaling up and down the fingerboard of his cello to produce a rich, deep, and confident sound that swirled upward to the top of Sanders...
...ability to blend cohesively with the orchestra. Koh presented an image to the audience of the cellist as part of a larger organism that is the HRO. As the strings played, he extended his upper body towards them as if trying to immerse his head in the music; as the horns played, he leaned back as if to absorb the sounds of the brass. Koh was clearly aware that the success of the orchestra depended on each of its parts working together—a trait that truly demonstrates his maturity...
...Cavedweller” (choreographed by Joshua Legg) was an unexpectedly relaxed costume choice for the highly skilled and sensual movements that she executed.The show concluded with an improvisational performance. The program informed the audience that prior to Friday night’s performance, the dancers had not heard the music of this piece. A Cantonese-language version of disco classic “YMCA” poured out of the speakers, and the entire cast began to move. In the beginning, the dancers were focused on their own movements. The result was a mishmash of motions, from slow rolling around...