BSO performs Russian, American pieces with gusto, elan

All were settled snugly into their seats at the Maine Center for the Arts Sunday afternoon when Werner Torkanowsky nearly leapt onto stage to the roll of a drum and conducted the audience in an unexpected but heartfully welcomed rendition of “The Star-Spangled Banner” by the Bangor Symphony Orchestra. Rising to its feet, the house lifted a proud American voice to sing the national anthem and cheered when the song ended. It was a momentous beginning, one that set the stage for a wonderfully rich and vibrant afternoon of classic masterpieces and bold American music.

It is unusual and admirable that Maestro Torkanowsky departs from the relatively common fare of symphonic programs. Instead of staying within the more typical range, he frequently features 20th century works and organizes concerts by themes. Although Torkanowsky was unfortunately unable to discuss yesterday’s stimulating program with the NEWS last week, the exuberant presentation of ballet music spoke for itself during a truly satisfying concert.

With uncommon energy and excitement, the BSO performed Tchaikovsky’s “Romeo and Juliet Overture-Fantasy” and Prokofiev’s “Romeo and Juliet Ballet.” Two pieces, each alike in dignity, offered contrasting representations of the tale of star-crossed lovers. Tchaikovsky’s overture, filled with lush, over-emotional themes, throbbed with the passion of young love. Prokofiev’s ballet, while filled with the sacred innocence, tentative exploration and overwhelming sensation of sexual awakening, was also filled with deep, foreboding tones that mark it as a decidedly more satirical and cynical interpretation.

The BSO handled both Russian pieces masterfully. The emotional peaks of Tchaikovsky and the enraged, stabbing beats of Prokofiev obviously struck home with these musicians, who played with enormous elan, gusto and excitement.

During the “Love Dance” movement of Prokofiev, Charleston Ballet Theatre dancers Erika Moe and Kurt Putzig performed an acrobatic and lovely, though somewhat repetitive, modern pas de deux that mostly distracted from already engaging music.

The flavor of the afternoon changed during the second half of the program, which was devoted to the American composers Louis Moreau Gottschalk, George Gershwin and Aaron Copland.

Moe returned to the stage with dancer Barry Leon for Gottschalk’s lively Grand Tarantelle Op. 67, a somewhat obscure piece that established the whirling and strongly rhythmic sounds of the second half of the concert. Pianist Bob Bahr also offered a spirited solo during this number.

French taxi horns during a Parisian rush hour and pastoral picnics with jugs of wine and loaves of bread marked the mood for Gershwin’s “An American in Paris.” From sultry to sentimental, the BSO delivered the whimsical impressions of an American dynamo from the East Side or Tin Pan Alley strolling about in the open air of the City of Lights. This was a particularly taxing task for the percussion section which, for the most part, kept its varied duties brisk and sharp.

“Hoedown,” the short fourth episode of Copland’s Wild West ballet “Rodeo,” was a sneakily snappy ending to this buoyant and perky concert. Only Agnes de Mille could have added more pleasure.