On Saturday, Aug. 16, we were excited to see the debut of new Boston Symphony Orchestra assistant conductor Anna Handler, and the return of violinist Augustin Hadelich. Another warm evening in Lenox with humidity near 100 percent, couldn’t stop a massive crowd from gathering.
Handler strode onto the Shed stage with purpose, greeted the evening’s concertmaster, Alexander Velinzon, and took the podium for Brahms’ “Tragic Overture.”Right away, her crisp, powerful conducting style — clearly reminiscent of Andris Nelsons’ — was effective at bringing Brahms to life. She urged forth the strings, waved in the brass and percussion with verve, and caressed her winds in an emotional way.
Velinzon and the strings were superb — a powerfully played Brahms. Handler made her mark. She bowed modestly, placing hand to heart, and pointed to credit various sections and individuals. She strode off stage with pace and quickly returned for Schumann’s “Symphony No. 4.”
No. 4 begins with somber tones and develops into something else: Ziernlich langsam (Rather slow) to Lebhaft (lively) to Romanze: Ziernlich langsam, to Scherzo: Lebhaft — Trio, then Langsam — Lebhaft — Schneller — Presto (slow — lively — faster — very fast.)
It was exquisitely performed with Handler bringing both artistry and quality. It flowed like a river — meandering, then surging with power, until it exploded into a torrent. The build up was sharp; the conclusion loud, and vibrant.
Handler turned to the audience, now a broad smile. She shook Velinzon’s hand. Her deeper bows greeted a standing ovation — a glimpse into a bright future.
Anna Handler at Tanglewood.Hilary Scott
After intermission, it was up to Hadelich to follow a great orchestral performance.
A large man with larger hair, he dwarfed Handler as he waited onstage to begin his part in the famous Tchaikovsky “Violin Concerto.” Velinzon and the orchestra led the soft opening bars. Hadelich lifted the 1744 “Leduc / Szeryng” Guarneri (lent to him through the Tarisio Trust), and began. Sweet tones emerged.
He had previously played the 1723 “ex-Kiesewetter” Stradivari but switched recently after hearing the mellow, more human-like voice he was in search of — and found — in the Guarneri. What followed was smooth, soft, gentle brilliance.
Allegro moderato – Moderato assai served as a warm-up. Then came Canzonetta: Andante —and things really got going. The Finale: Allegro vivacissiomo, Hadelich flew up and down the neck of the Guarneri with such speed and precision that, through binoculars, I caught Velinzon chuckle and shake his head in disbelief from the best seat in the house.
A virtuoso performance.The crowd roared.
An encore followed: Forrester (arr. Hadelich) “Wild Fiddler’s Rag” — fun and flirtatious.
Will there be other evenings as bright as this? Likely, but few and far between.
Will Velinzon and the orchestra continue to create rare conditions where these thermonuclear pyrotechnics are possible?Absolutely.
Justine and Victor Valla in their studio with a painting of Victor’s,”Jonah and the Whale.” Robin Roraback 
A ceramic vase by Kathleen Heidemann.Provided 
Joy Brown’s delightful ceramic sculptures.Provided 
