Passionate performance given by orchestra, trio

Marilyn LaRocque

Tuesday, Oct. 28, 2003 | 8:24 a.m.

When three gorgeous young women stride onstage in dramatic black-and-white, show-stopping gowns, it's immediately obvious this is no ordinary formal classical concert.

However, Sunday's performance by the Prague Chamber Orchestra and Eroica Trio at Artemus Ham Hall at the University of Nevada, Las Vegas, went far beyond haute couture.

The passionate, brilliant program catapulted the audience from its seats not once but twice for Beethoven's "Triple Concerto." The excitement and intensity of the first movement ended with such a grand flourish that the audience was on its feet applauding loudly immediately after the last note.

Although caught by surprise, the musicians took this spontaneous breach of concert etiquette in stride. To regroup and recapture the mood and musical continuity of the work -- which is the problem triggered by applause between movements of a piece -- pianist Erika Nickrenz played an "A" so cellist Sara Sant'Ambrogio and violinist Adela Pena could retune their instruments.

With order restored -- and no break between the second and third movements -- the orchestra and trio completed the piece and received their second standing ovation.

Officially titled "Concerto in C major for Piano, Violin, Cello and Orchestra, Op. 56," the "Triple Concerto" is a virtuoso challenge for all the musicians. Since the Prague Chamber Orchestra has no official conductor -- Antonin Hradil is artistic leader and concertmaster -- the interaction among the musicians and three "soloists" was an example of musical intuition and ESP, paired with experience and empathy among kindred spirits.

Admittedly, Hradil used the bow of his violin for emphasis and direction, complemented by the bobbing and weaving of his body, an occasional arched eyebrow or pointed lean or glance at a soloist or section when they had a prominent part, or a hunched-over body position for pianissimo.

Whatever the technique, the musicians responded beautifully with elegant, balanced sound that ranged from extraordinary pianissimo to full, controlled fortissimo. Their playing was precise yet dynamically expressive, with stunning contrasts. Rapid passages were crisply and energetically performed.

There appeared to be a virtuoso sixth sense binding the trio and orchestra together. The sonority and richness of the orchestra expressed the epitome of ensemble playing and formed a musical framework for the trio.

The synergy within the trio and between them and the orchestra was superb. They actually smiled at one another as if to ask, "aren't we having a wonderful time?" They were ... and they brought the audience into their world to enjoy it with them.

Sant'Ambrogio plays an 1800 cello made by Johannes Gagliano of Naples, Italy. Pena's 1793 violin was made by Joseph and Antonio Gagliano. The instruments' nearly human, singing tones were like golden honey. Nickrenz added cascading, sparkling notes on the piano, accented with strong chords.

Sant'Ambrogio coaxed low, rumbling growls from her instrument, then fled to the stratosphere of extremely high "false" notes generated by the cello's harmonics, activated by manipulation of the strings. She played them expertly and in perfect pitch.

Tall and willowy, Pena increased her height with stiletto heels. She swayed and bent her body interpreting the music, as if she were a tree in a musical storm.

The second movement expressed a prayerful longing with a golden thread of sound. The orchestra and the trio performed in a seamless interaction. When the violin and cello resembled the dueling banjos, the facile yet forceful playing of Nickrenz brought back them back from the brink.

Brilliant, sparkling final passages brought the work to a close and the audience, once again, to its feet. The trio rewarded them with a Tango encore.

For its portion of the concert, the Prague Chamber Orchestra chose three highly entertaining pieces. The opening "Cariolan" Overture, Op. 62 by Beethoven was energetically performed in a crisp, bright style. The two works that comprised the second half of the program continued this tuneful, upbeat pace.

The Serenade No. 2, H216 by Bohuslav Martinu featured only violins and violas. The sprightly first movement kept the musicians in perpetual motion. The lyric second movement had a warm, sweet, flowing quality. Strong harmonics and unison sections typified the playful, very energetic third.

Prokofiev's "Symphony No. 1 in D major, Op. 25" ("Classical") concluded the program. The violins demonstrated a lightness of precision bowing. Individual musicians and sections were spotlighted. The bassoon had a marvelous solo, jumping about like a grasshopper. Then the clarinet, flutes, oboe, English horn, French horn and trumpets had their chance to shine.

The star quality of the players, the eloquence of dynamic changes and the balance of the orchestra created a high level of performance and the impression that the group was much larger than its 32-person size.

Another standing ovation greeted the conclusion of the Prokofiev -- and elicited not one but four encores. The last one ended in a pianissimo so soft that, in comparison, a dropped pin would have sounded like cymbal crash.