At Honolulu’s first symphonic concert in almost a year and half, the city welcomed back its orchestra with a standing ovation by an almost sold-out crowd.
The concert Sunday was the premiere of the newly formed Hawai‘i Symphony Orchestra, but it was impossible not to hear the concert as a return of the old Honolulu Symphony, which stopped performing in the fall of 2010 and eventually declared bankruptcy.
Not surprisingly after such a long hiatus, there were many new faces among the musicians, but a fair number of section principals from the Honolulu Symphony returned, which made the orchestra seem more familiar than new.
The orchestra debuted with full honors, opening with a gracious oli by Aaron Mahi, followed by the "The Star-Spangled Banner" and "Hawai‘i Pono‘i"; prefacing the second half by acknowledging the orchestra’s board and new president, Steven Monder; and closing with leis all around, first for featured pianist Lisa Nakamichi and conductor Naoto Otomo, then for every musician in the orchestra.
Through it all, the audience stood and applauded, cheered, whooped and "Bravo!"-ed well into overtime, until concertmaster Ignace "Iggy" Jang finally led the musicians off stage.
Perhaps wisely, the orchestra chose a modest first program of works from the core of the classical repertoire: Weber’s "Oberon Overture," Mozart’s "Piano Concerto No. 20 in D Minor" and Beethoven’s "Symphony No. 5."
One has to wonder whether the Beethoven was chosen for its music, its enduring popularity, its stature in the repertoire … or perhaps for its famously nicknamed fate motive that joyously triumphs in the end.
Despite the returning musicians, the Hawai‘i Symphony Orchestra is essentially a brand new ensemble, and they will have to redevelop the warmth and solidity of an ensemble that performs together regularly, the intuitive cohesion so prized in ensembles with a long history.
The brass had a somewhat rough evening, especially in the early sections of "Oberon" and the exposed horn calls in the first movement of Beethoven’s Fifth. And there were occasional unsettling moments — adjusting intonation, a shrill piccolo popping through — but in truth, no one cared about the details. All that really mattered was that the orchestra is back, and there was much in the music to suggest that the group has the potential to quickly regain its sense of ensemble.
Conductor Otomo and pianist Nakamichi made for an appealing match, both well-known for their clarity, light touch and balance — a style that suited the evening’s selections especially well. Both artists were familiar guests of the old Honolulu Symphony, and the audience received them warmly, even though the focus of enthusiasm remained firmly on the orchestra.
Like rain after a long drought, it was exhilarating to hear the orchestra again: oboist Scott Janusch, a brilliant, truly exceptional musician; concertmaster Jang; bassoonist Paul Barrett; the delicate rising horn line that opens "Oberon"; the sweep of strings. … Is there a more satisfying string bass line in the repertoire than in Beethoven’s Fifth?
The concert reaffirmed that nothing, but nothing approaches the sound of a live orchestra. The audience was thrilled and exited the hall speculating about the Hawai‘i Symphony Orchestra’s future.
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Ruth Bingham received her doctorate in musicology from Cornell University and has been reviewing the musical arts for more than 20 years.
