van Zweden did not get out of his band what Horenstein did his, but I have the feeling that he wasn't trying to. What he did get was nice enough, maybe a bit lacking in "edge" but compensated enough for with a really good feel for transition passages, this group is really playing together these days, looking forward to a whole season's worth. Recordings might bore me, but live shows, where it's totally a Dolphy-an "and then it's gone" thing, not bad at all, although...is an orchestra prone to coasting on a day game following a night game?
No charge or hassle for swapping our Saturday night seats for much better seats today in the same price category, and if you want to get better seats on any night, your price differential is based on subscriber, not list, price. I'm looking ahead already, and the options are many...
Benjamin Beilman was a sub for Midori, who's apparently under doctor's orders not to travel, and, geez, the kid's only 25, and he's going for it right now. Perhaps lacking a bit of "star power" in his gestures, but you know me, that's not what I'm there for, and I think he played his ass off. Definitely got a higher ceiling, sure, but I dug him. My first time knowingly hearing the Sibelius piece, but hasn't that opening of the 3rd movement been adapted for Swing Era at some point? Sure sounded familiar, and for a few bars, the violin/tympani thing put me in mind of Krupa/Carnegie Hall Swingx3, and I was like, oh geez, are these feelings appropriate? and no, probably not, but personal chronology gonna do what personal chronology do.
I read where the DSO is making a "European Tour"in April 2016, and...how/why is that happening? Does Europe (whatever that means) need to hear the DSO? I mean, it's pretty much what we got here, and, yeah, they're moving ahead nicely, fun to be around that, but...Or is this some kind of conductor-pimping? I have NO idea what the business side of this type of thing looks, like, but...do, say, Russian bluegrass bands tour Kentucky and West Virginia? And if so, again, how? Why?
Oh well, show business!
One more sweet deal about subscribing - apparently the Brucker is a "bonus" concert for subscribers, meaning that it's not included in your 14 concert package, but you can get ANY available ticket for just $10.00. We got primo seats that list at significantly more than that for ten each, because, as the phone rep said, "you're a subscriber, we need for y'all to stay happy". I wanted to say, hey lady, I'm eating off your dollar menu, not sure if that qualifies me as a "regular customer", but then again, hell, I AM a subscriber, it's not like y'all GAVE me this shit, right? So, yeah, good attitude, DSO, and points scored for the whole "accessibility" PR thing. I guess that endowment shit only goes so far.
So I would say, if you live in an area that has a group you think you might enjoy hearing on a regular-ish basis, ask about more than just ticket price. DSO be perk-ing their asses off in that regard. Figuring in free parking, we're getting guaranteed seats that would at face value, for two, cost about 60 bucks for less than half of that, 14 + change per ticket + 10 bucks of free parking, plus incredibly user-friendly seat-shifting ability.
Now, if I can just talk my wife into going to an opera, just one, just once...I think I'm ready, but not ready enough to go solo. Yet.