Xiang-Dong Kong and Co. Defy the Odds

The show did go on Saturday night at Irvine Meadows Amphitheatre, despite the power outage that had sparked fears of cancellation just hours before. Conductor Carl St.Clair and the Pacific Symphony showed few signs of frazzle from the uncertainty. Only the sound system, down for the count during scheduled rehearsal time, needed remediation.

The system got its adjustment during the concert, making us privy to page turns and squeaky music stands along the way. But if technology--and the usual buzzing of birds and sirens--interfered, so did some of the 7,695 in the audience.

The orchestra, pared down for the Classical program entitled Mozart-in-the-Meadows, began with a rousing reading of the Overture to “The Impresario,” delineated by crisp phrasing and voicing. Then came Piano Concerto No. 26, called the “Coronation” because Mozart performed it during the time of Leopold II’s coronation in 1790.

Those sitting near me heard little of the first exposition because of impromptu accompaniment by a whining child. Nevertheless, soloist Xiang-Dong Kong entered lyric and considerate, painting his part in thoughtful shades and steady rhythms, though perhaps daunted enough by circumstances to have the first of a few hastily covered memory slips.

Having established the poetic ambience and having kept silent long enough for the sound of zealous clappers to dissipate into a hush, St.Clair raised his baton for the fragile slow movement.

Then came the pop of a champagne cork. St.Clair stopped and turned a hostile glare to the person whose interest in bubbly had turned an artistic experience into a slapstick routine, but the mood was shattered.

Still, the musicians proceeded bravely, with Kong musing in thoughtful nuance of touch and phrasing, neatly echoed by the band. They tried to forge ahead into the delicate contrast of the closing Allegretto, but applause broke over their ever animated and engaging repartee.

With fewer outside disturbances for Symphony No. 39, K. 543, St.Clair held his group to propulsive rhythms and big contrasts, but sacrificed subtle coloration to the greater outdoors. Violins, led by capable guest concertmaster Roger Wilkie, sounded weak and ragged in quiet passages. The third movement twinkled with graceful good humor offered by clarinetists James and Debra Kanter.