Seattle Symphony | Colorful Russian and Finnish works

A guest conductor, with a fresh approach and new ideas, is always something to relish. And so it was Thursday night, as Eri Klas took the podium and led the orchestra in a colorful array of Russian and Finnish works. The globe-trotting Klas is chief conductor of the Novaya Opera Theater of Moscow.

Rimsky-Korsakov's "Russian Easter Overture" makes an excellent opener. Based on hymn tunes from the Greek Orthodox Church, the composer's brilliantly orchestrated textures gave Klas the opportunity to build thrilling massive sonorities. The orchestra played with exemplary precision and balance; particularly outstanding was the brass section. Klas — a no-nonsense conductor of few histrionics — generates excitement through modestly controlled cues, rather than by ostentatious gestures. At times he appears a bit mechanical and wooden, but there is always underlying sensitivity.

Review

Thursday night, Benaroya Hall, Seattle

How refreshing it was to feature two of the Symphony's own players, Maria Larionoff, acting concertmaster, and Elisa Barston, principal second violin, in Arvo Pärt's "Tabula Rasa." This is a rather strange, haunting work full of endless repeating effects. A "prepared" piano with metal screws interjects gonglike punctuation. Larionoff and Barston's ghostly lines and effects were in perfect intonation and conveyed the desired mood very effectively. These two excellent musicians deserve repertoire that would more fully reveal their capabilities.

Klas devoted the last half of the program to the Finnish composer Sibelius. His somber tone poem "Swan of Tuonelo" portrays a dreamlike portrait of death. Klas' careful pacing and balance was entirely convincing; the highlight was the emergence from the lush strings of Stefan Farkas' evocative English horn, beautifully played.

Sibelius' expansive Seventh Symphony in one movement depends for its impact on the skillful handling of its many tempo changes. Klas paced the work so it emerged as an organic whole rather than disparate sections. It is thickly orchestrated, with divided strings and constant blending of woodwinds, strings and brass. Despite the dense orchestration, Klas' sensitivity to balance revealed the proper effects. This symphony didn't provide easily accessible melodies for the listener to take home, and some may have found it less than satisfying for that reason. But viewed as a statement of unity and power, it is a cogent work.