Rain dominated the Palm Beach Symphony’s performance Jan. 9 at the Flagler Museum.
Just when I thought artistic director Ramón Tebar had gotten it right by choosing only string music for the acoustically ripe “Railway Hall” (aka the pavilion on the grounds that houses Henry Flagler’s private rail coach), pouring rain, of enormous volume, hit the glass roof incessantly throughout the concert and strings playing pianissimo could not be heard.
The talented young Israeli violinist, Itamar Zorman, played brilliantly in Vivaldi’s Four Seasons and Piazzolla’s Four Seasons of Buenos Aires, the two pieces scheduled. Arriving with little time to spare because of snarled transportation in the rain, his performance was heroic in the best sense of the word; his playing and professionalism carried the night.
Tebar, announcing that he would mix the Vivaldi and the Piazzolla rather than play them straight through, could hardly be heard when he spoke because of the pelting rain. A hand mic would have been an asset to him because his vocal delivery needs much work. Music schools do not spend time teaching their students how to elocute or throw the voice when reaching out to an audience, especially when radical changes are involved in the programming accompanied by a long explanation as to the reasons why, unheard by most.
Like an enthusiastic soccer team captain, Tebar led his team to victory despite the setbacks. The rain delayed the concert’s start by half an hour, and the continual rain on the building’s glass roof were no hindrance to him. To overcome these weather-related adversities, Tebar struck a vein of adrenalin that doubled his energy level. Going for goal, he tackled an unforgettable evening of music making.
The arrangement of the orchestra was similar to the Bach concert the orchestra gave two years ago at Palm Beach Atlantic University’s DeSantis Chapel. The strings played in the center of the hall, with the seats set in a circle around them in rows of three or more. This time, most of the players were “exalted” on a dais, which lent drama to the occasion, and made for an improved acoustic.
The strings sounded excellent, and enormous kudos go to the orchestra’s solo cellist, Claudio Jaffé, who matched the visiting Israeli violinist with playing of the highest caliber. Jaffé produces a very seductive sound.
Because Tebar’s words were inaudible, three quarters of the audience were left guessing about what he said. Curious glances were exchanged as the familiar movement of Vivaldi, Spring, was quickly followed by a Piazzolla Summer. It took a while to pick up on what had happened.
Dribbling through the adversities of a very stormy night, Tebar conducted like a demon, with occasional forays to the harpsichord, which he plays well. He was determined to get through this dreadful night by sheer force of personality, and did it with leadership, smiles, encouragement and brilliant conducting.
Leaving the concert was a nightmare. The ground surrounding Flagler’s baronial-style home was knee-high in water. One wag said all it needed was a 2-foot moat to turn Whitehall, the Flagler mansion, into a castle (and no drawbridge). The narrow entrance created yet another hazard, with only one large golf umbrella to cover people scurrying from the mansion to the train car hall.
This storm caught everyone by surprise. Fortunately, there are many pieces to choose from that will show off the fine string section of the Palm Beach Symphony when it uses the Flagler estate next year. Considering the circumstances , the best one can say is that rain didn’t stop play.
Rex Hearn founded the Berkshire Opera Company and is a regular contributor to Palm Beach ArtsPaper.