Two major works by two major composers comprise the current Richmond Symphony Masterworks Concert series, and they are joys to behold.
In a performance Friday night under the direction of conductor candidate Marc Taddei, the pieces provided full glances of two well-known Romantic-era composers, Richard Strauss and Sergei Rachmaninoff.
When most people hear the name "Strauss," they think waltzes. Different Strauss -- Johann.
Richard is considered the more prolific of the two, although comparisons really aren't proper here. He is known for his operas, tone poems and vocal compositions, one of which made up the first half of the program.
"Four Last Songs" for soprano and orchestra are exactly that. They were basically the last composition Strauss wrote before his death in 1948. But anyone who has heard them and understands them can tell you that it is a work filled with life as well as angst.
Guest soprano soloist Melissa Citro displayed a powerful voice that was capable of everything the composer asks. Citro is a rising star, particularly in the opera world, and with her stage presence and obvious talent should be seen and heard more and more.
Taddei guided the orchestra gracefully and kept the full score from overwhelming the soloist . . . though with the strength of her voice Citro needed little help in maintaining center stage.
Rachmaninoff's Symphony No. 2 is a piece favored by musicians and listeners alike.
The composer's first symphony had laid an egg with Russian critics when it was first performed, and Rachmaninoff quickly took up conducting rather than composing after the supposed Symphony No. 1 debacle.
Discontented with not being able to tackle his first desire -- composition -- Rachmaninoff quickly silenced the critics with his famous Piano Concerto No. 2 and then dove fully into composing. The second symphony is a majestic masterpiece that shows every angle that would continue to make Rachmaninoff a favorite worldwide.
It was easy to tell that the musicians and Taddei like this piece. It gives every element of the orchestra a chance to shine, and Taddei handled it like the professional he is. He knew when to give and when to take.
It also was easy to hear -- particularly in the second and third movements -- where Rachmaninoff teased listeners with clever similarities to that aforementioned second piano concerto. A few measures here, a few measures there, and your mind drifts back to it but without being distracted.
Taddei conducted this nearly hour-long piece from memory and never faltered. It's obviously a favorite of his.
Take a bow, maestro.
Contact Walt Amacker at (804) 649-6247 or wamacker@timesdispatch.com.
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