Review: Vancouver Symphony balances Mozart and Berlioz in all-orchestral concert

The spotlight fell squarely on the Vancouver Symphony at its most recent concert, an all-orchestral affair at Skyview Concert Hall (February 22). Music Director Salvador Brotons led the orchestra in solid performances of Mozart’s “Prague Symphony” and Berlioz’s “Symphony fantastique” The pairing of these great works was a full meal deal for the audience, which left the hall very satisfied.

Mozart’s “Prague Symphony,” a moniker for his “Symphony No. 38,” was one of his last symphonic pieces, and it has a rightful place as one of his best. Urged by Brotons, who conducted the piece impressively from memory, the ensemble aptly conveyed the spirit of Mozart’s music with panache.

The slow introduction of the first movement (Adagio-Allegro) combined plenty of tension and grace to create high drama with the violins leading the way, although there were a few intonation issues. A highlight was the expertly contributions of Principal Oboist Alan Juza in several exposed passages.

The second movement (Andante) offered a sequence of well-shaped episodes, and the third (Presto) upped the pace with the violins deftly executing several florid runs. The effervescence of Mozart’s music gleamed, and Brotons acknowledged the playing of the woodwinds and horns during the robust applause from the audience.

Brotons, in his introduction to Berlioz’s “Symphony fantastique” noted the unusual love story that helped to create the piece, and mentioned the remarkable sonic effects of the music, which Berlioz uncorked just a few years after the death of Beethoven. The highly Romantic and programmatic work was a terrific vehicle for Brotons and his forces to perform. Over the course of its five movements or parts, all of the musicians got a chance to shine.

The first part (Reveries–Passions) presented the idée fixe (theme of obsession) with good attention to dynamics so that it ebbed and flowed passionately. The second part (A Ball) waltzed delightfully – with the idée fixe interrupting the gaiety now and then.

In the third part (Scene in the Country), the exchange of shepherds’ calls – supported vigorously by the violas – between Juza, whose offstage appearance was nicely captured on camera, and English hornist Karen Strand, went flawlessly. The lower strings also conveyed the theme of obsession with elan, and the playing of Principal Clarinetist Igor Shakhman evoked a delicious mixture of poignancy and mystery.

The fourth part (March to the Scaffold) featured excellent drumming on four timpani by the percussion section. Strand and Principal Bassoonist Margaret McShea excelled with their expressive passages.

The mocking derision of the fifth part (Witches’ Sabbath) came through dramatically – with the dies irae theme throwing a haymaker in the midst of the chaos. Although the skeletal sound of the violins tapping their instruments didn’t really gel, the orchestral exclamations of otherworldly monsters emphatically combined to elicit the horror experienced by the main character at his own funeral.

The audience responded to final, glorious chords with a standing ovation as Brotons signaled the fine efforts of the musicians. Although attendance at the concert was light (in comparison to the other concerts of the 2024-2025 season), many listeners enjoyed the music and make positive comments as they exited the building.