Mirage? defies all presumptions of classical music and shows how music can be borderless and touching when presented in a diverse and accessible format. The concert by Thirteen Strings with solo percussionist Beverley Johnston stood out by using a different approach to classical music than traditional orchestras, while crafting a beautiful rendition of a diverse and incredible repertoire.
Founded in 1976 as Ottawa’s first professional chamber orchestra, Thirteen Strings is well known for its eclectic approach. The 13 core musicians change regularly, amplifying the borders of each concerto and giving a new sound to the music each time they play.
The Mirage? concerto on Oct. 18 at Carleton Dominion-Chalmers Centre truly captured the essence of what Thirteen Strings is about. Under the mastery of arts director Kevin Mallon, the audience experienced a touching rendition of classical pieces, with a short explanation and conversation between compositions.
The first and third pieces of the repertoire, by Antonio Vivaldi and Canadian contemporary composer Christos Hatzis, respectively, were interpreted by Johnston on vibraphone and percussion, backed by the rest of the orchestra on strings.
Not only was Johnston’s clear mastery and understanding of the pieces truly mesmerizing, but the emotion behind her interpretation and her communication with the rest of the musicians added another layer of depth.
Classical concerts can be static and technical, with no space for emotional interpretation, but the renditions of the four pieces played in Mirage? were nothing of the sort. Johnston had so much expression on her body and face that her energy and enthusiasm captivated audiences in every part of the theatre.
Johnston’s playing made the audience feel connected to the pieces through her. Not only was her indirect communication astonishing, but Mallon also spoke directly to the audience between pieces. The communication between the music, the musicians and the people was natural and inviting.
Before the last piece, a beautiful rendition of the romantic “Serenade for Strings” by Pyotr Ilyich Tchaikovsky, Mallon spoke of his own relationship with the piece and how he wished for it to be played as he believed the composer would have truly wanted: “Marcatissimo!” he said. “But it’s never played like that.”
Mirage? shone a light on the essence of classical music and how different the interpretations of classical pieces can be. Even if they are the same from a technical standpoint, each musical composition is always played and interpreted in different ways.
The sincerity of Mirage? was touching and thoughtful. The love the musicians had for what they were playing felt tangible to anyone in the room. The diversity of it all was incredible—their repertoire was varied, containing pieces from the Baroque era to the Romantic era, from modern to contemporary.
Whether you’re a classical music fan or not, watching Thirteen Strings is an unforgettable experience. In its beautiful, diverse and innovative way, Mirage? left audiences wanting to stay there for a little longer. Thirteen Strings will return to Carleton Dominion Chalmers Theatre Dec. 6 for their Christmas concert, Joy To The World. Tickets are available on their website.
Featured image by Ana Miranda.
