Under the direction of Amy Kaiser, the Symphony Chorus has developed an increasingly fluid sound, rich and organic, coupled with ever-improving diction and intonation. It is as though the Chorus members by now know each other so well that they are able to sing as one huge--yet well controlled--voice, like the stops on a pipe organ. The British bluster that permeates Vaughan Williams Sea Symphony calls for a chorus that can respond to musical cues as quickly as dancing sailors on a ship in rough waters. The music is as capricious as the sea itself, and it was easy for listeners to close their eyes and imagine themselves adrift on our planet's enigmatic oceans, or exploring their murky depths. Soloists Brett Polegato and Christine Goerke were able to hold their own against the strong orchestral backdrop. Goerke's voice is florid and liquid, like water, whereas Polegato projected a serene masculinity. Both are different, yet seemed well matched for this performance. Here and there it seemed that there were some individual pitch problems among some of the singers, but this performance was gratifying because of the exuberant energy emanating from the stage.

Part of the reason why we love music is because of its power to invoke any emotion or spiritual sentiment. Reflecting on the sea became almost a religious experience, particularly as the text mused upon the soul's exploration of the mysteries of the depths. Likewise, the Rachmaninov piano concerto, one of the best loved works of all music, painted a canvas of varied landscapes. This piece is a warhorse for pianists, and is one of the works that makes or breaks a pianist's reputation. Although its technical demands are formidable, Horacio Gutierrez almost made the piece seem effortless. He chose a rather lyrical and meditative interpretation, rather than the bombastic style that pianists bring to this concerto. It is up to each listener to decide which approach they prefer, but in any case Gutierrez' technique was up to the challenge, and his hands brought to bear enough strength to make the piano ring out above the orchestra and throughout the entire hall, much like Rachmaninov himself was said to be able to do.

Guest conductor Robert Spano is an honored master of his craft. He brought a solid understanding of both works on the program, and seemed content to guide rather than rigidly control the performers. The music we heard seemed to almost have wings, and was a fitting close to yet another great season for this orchestra.

Although this weekend marked the close of the current season, many events are planned by the SLSO for the summer. For more information, contact the Symphony Box Office at 314-534-1700.