United States Various: Itzhak Perlman (violin), Colorado Symphony / Peter Oundjian (conductor). Carnegie Hall, New York, 1.2.2026. (DS)
Adams – Frenzy: A Short Symphony (NY premiere)
Kreisler – Three Selections for Violin and Orchestra: ‘Liebesfreud’, ‘Schön Rosmarin’, ‘Tambourin Chinois’
Williams – Theme from Schindler’s List for Violin and Orchestra
Carlos Gardel – Tango ‘Por una Cabeza’ for Violin and Orchestra
Mussorgsky (arr. Ravel) – Pictures at an Exhibition
When Itzhak Perlman came to the stage, charging youthfully in his red scooter up the ramp set in front of the string section of the Colorado Symphony, the entire audience in Carnegie Hall stood. He doesn’t need to play to get a standing ovation. His presence is a reminder of how he introduced classical music to generations of children from all cultural and socio-economic backgrounds as well as to young violinists like me through his unforgettable moments on Sesame Street in the 1980s. Perlman consistently embodied the fact that classical music is not an elite pastime but (should be) accessible to all, wisely sharing this sentiment first and foremost with children. Undoubtedly, many of these grown children were in the audience.
Peter Oundjian, who is in his debut season as music director of the Colorado Symphony, also epitomizes a similar gift of opening his arms to musical newcomers and aficionados alike. He introduced Perlman with an endearing story of their first meeting before his own Juilliard School audition. The banter continued between them – with an authentic air of jocularity. Perlman cheekily pointed out that he would not have to play an encore because all his pieces on this Sunday afternoon concert were, in fact, encores: luscious Kreisler set to orchestra, an elegiac Schindler’s List theme, a tender Dvořák and an enchanting tango. He may no longer play with the same technicality as at his peak, but it was the unmistakable, beckoning sound of Perlman.
The performance rode on a richness of sound from the opening phrase to the final chords. The Colorado Symphony was back at Carnegie for the first time in 50 years and ready for it. Beginning with the New York premiere of John Adams’s Frenzy: A Short Symphony, no time was wasted showing off the ensemble’s sonic muscularity. Adams’s work was particularly well-suited to the virtuosity and rhythmic pulse of the strings section. Oundjian led with a decisive focus on matching dynamics with tempo and rhythmic momentum with artistry: a must for any Adams piece. The work’s aura of urgency also grew through an array of musical material – like energizing syncopated passages between the strings and horns, passing lines of jazzy rhythms and, for anyone listening carefully, even a hint of cakewalk. Colorado’s crystalline, big sound (even when soft) flooded the hall; their playing reminded one that orchestras are massive and should not be afraid to show it.
The concert ended with a symphonic-fan favorite: Pictures at an Exhibition. Any listener, adult or child, can let the imagination unfold through this fairytale-like piece, and I recommend it – especially with the pleasure of watching Oundjian’s beautiful gestural conducting that embraces the true grace of music. Brimming with energy and responding effectively to Oundjian, the Colorado Symphony played each movement heartily and with vivacious character but never sacrificing sensitivity in the delicate moments.
As the concert closed, it was evident that the strings are leading the Colorado Symphony into a new era, which is not surprising given Oundjian is a violinist at his core. Winds and brass are not far behind in this exciting trajectory on which the orchestra has set itself. It has been overlooked as a main player on the American orchestral scene, but this concert made a clear statement: Colorado is a musical giant that is just starting to wake.
Daniele Sahr
Featured Image: Peter Oundjian leads the Colorado Symphony with Itzhak Perlman on violin © Amanda Tipton Photography