Word: tempi
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After justifiably extensive applause, Upshaw left the stage to Goode, who performed the four short pieces of Brahms' Op. 119, three intermezzi and a rhapsody. The first of the set, the intermezzo in B minor, is the thing of devastating beauty. Though Goode's tempi were excessively free, his princely touch and his formidable intellectual grasp of the music overwhelmed all objections. His performance of the bravura E-flat minor rhapsody was the best of the four, demonstrating superior voicing and clealiness of fingerwork...
Laredo seems to be a better symphony conductor than a concerto conductor, since the Mozart offered him a chance to think like the concertmaster he used to be. The strings were together and the winds were together. If Laredo's choice of tempi was often less than daring, he made up for it by successfully turning the minuet into a scherzo. He seemed to want the fourth movement to sound like Mendelssohn's "Italian" symphony, with pleasing results...
...women's chorus were all quite strong, but the men's chorus left something to be desired. The orchestra was superb and almost never overwhelmed the singers on stage. Under the skillful baton of music director Steven Huang '95, they moved effortlessly through a constant barrage of varied tempi and wildly disparate musical styles...
...became appropriately subdued and careful throughout the delicate contours of the Larghetto. His conducting finally matched the group's intensity. In the Finale, Metamorphosen exercised a wondrous dynamic range with flawless control. Unfortunately, the same cannot be said for the tempi; the most glaring discrepancy occurred as the group handily beat Yoo to the recapitulation of the first movement's main theme...
There is never any question about her technical facility in either the Sibelius or the Bruch, for she is arguably the finest technician of her generation, but she remains inexplicably aloof from both of them. The Sibelius is a tepid performance at best-tempi cluster around a comfortable median, and the soul is left wanting, in spite of flawless execution. There is absolutely no magic from her first entrance in the Sibelius, and her tone simpers more than it captivates. During the most dramatic moments of the piece, one wonders whether she is capable of producing anything outside...