The Sedona Symphony Orchestra opened its 20th season at the Sedona Performing Arts Center on Sunday, Oct. 20, with several surprises for the audience, including a change of performers and a guitar concerto.

Due to last-minute illness, Artistic Director Janna Himes and Concertmaster Sarah Schreffler were absent for the day, but in their place the orchestra was led by the talented conductor of Flagstaff Symphony Orchestra Director Charles Lutzshaw. With the opening of the season, Rats Lassho took over the concertmaster’s chair. Luke Hill.

Board Chair Margaret Davies said the orchestra had made a number of personnel changes in recent months, with the result that from the first soft beat of the originally programmed overture to Gioacchino Rossini’s opera ‘Italia di Algeri’, He said it was immediately obvious. For last season. Latshaw said it was “just perfect” to have a conductor conduct the overture, which was composed at the last moment. From the beginning, the violins spoke with a unified voice, and the strong depth of the bass helped smoothly integrate the ensemble’s sound. The repeated crescendos were clearly delineated, but given Rossini’s enthusiasm it is always difficult and risks falling into confusion.

Ratshaw’s conducting was precise and highly conventional, full of energy and with tight control over the dynamic nuances. The only problem his treatment of Rossini presented, and indeed the only serious problem that arose during the concert, was his apparent choice to play some of the accents as retards leading up to the final crescendo. However, this was unnecessary and temporarily stymied the performance. Italian girl rush, otherwise completely aroused. If you haven’t seen Marilyn Horne in the opera’s title role yet, Tighten the belt around Mustafa’s chin And if you let him wear his giant turban, you’ve got a treat in store.

For the afternoon’s solo act, Himes programmed something unusual: Joaquín Rodrigo’s acoustic guitar concerto “Concerto Aranjuez” with Slovenian guitarist Mac Grgic. The guitar quickly took the lead, Grgic playing with casual ease and flair, while the orchestra behind him suggested a grander scope. If listeners are so inclined, they can incorporate phrases and rhythms that are considered typical Spanish, and hear it as an expression of Spain with the world at its feet.

The second movement of the concerto is the longest section, and Grgic spent time pondering its languid, romantic themes. String instruments whispered softly in the background, appearing periodically to interact with the wind, with the oboe being a particular standout. I really enjoyed witnessing the delicacy and delicacy of the symphony’s violin section. Meanwhile, Grgic was stroking his guitar and strumming his own musical space as if it were just the two of them, oblivious to the breeze and stream in the gardens of Aranjuez, Spain. In moments of heightened passion, the entire ensemble participates under Ratshaw’s careful dynamic control, but for most of the movement the only playing is the guitar, inviting the listener to take a stroll.

In dramatic contrast, the third movement was a spirited gallop reminiscent of Golden Age Hollywood film scores. The role of the orchestra and horns increased, leaving room for lively work by the flute and piccolo. Again, the well-integrated strings were very noticeable, which has to be appreciated, and the finish was soft yet cheeky, almost sassy. To end the first half of the concert on a more lively note, Grgic created an encore consisting of a Macedonian folk song about marriage that combines both flamenco influences and dark chords with a modern feel, as well as incredibly fast strumming. provided.

The new strength and sophistication of the orchestra’s sound was even more evident in Felix Mendelssohn’s Fourth Symphony, the Italian Symphony, Mendelssohn’s masterpiece and most popular symphonic work. The bass had a great effect here as well, creating an even stronger sense of unity with the brass. A few more violins might have been nice for a richer result, but the balance the symphony achieved between the high and low voices of the ensemble changed its sound. Ratshaw’s playing was energetic and bold, not content with simply making the first movement’s popular energy sound nice. The opening bars of the second movement hinted at leaden skies, but these were gradually replaced by the stylistic sweetness of the first movement, which was then canceled and revisited in the re-performance. Nice and solid playing by the viola was also evident throughout.

The third movement took a different approach. Here Mendelssohn decided to let the violin do much of the talking, in an elegant and restrained style, not in the emerging Romantic style, but in a very classical style. The dignity gradually gave way to a sense of preparatory urgency, but there were also some Mozartian moments of anxiety. Whatever the reason, Mozart’s emotional turmoil was never an ideal match for this particular orchestra. But the improvement in the performance of last year’s Symphony No. 35 and similar pieces is remarkable. Throughout the fourth movement, the symphony did a very satisfying job of maintaining the inner pulse that ties together the seemingly frenetic climax of the final few minutes of the piece, and of keeping it from curling into a shrivel. Everything was clear without confusion, a well-orchestrated display of power held together by Ratshaw’s clear and evocative direction. The overall result was truly memorable. There was a renewed enthusiasm and confidence in the ensemble’s work, which was extremely satisfying.

Join us now for our next concert on November 17th. Sedona Chamber Orchestra Artistic Director Nick Canellakis will be the featured soloist, followed by a performance of Georges Bizet’s Symphony No. 1. Attendance is already increasing this season, and this is the first concert. For the first time in a while, a young crowd is starting to gather to hear the best music in town.