Though Bob Carr is a terrible hall for soloists, Mr. Perlman's large, personal sound was never overpowered by the orchestra. Credit for that, of course, also goes to Maestro Wilkins. The acoustic problem stems from the hall's lack of a ceiling: the soloist is placed past the transition from theater stage to audience area and left sonically naked.  

Perlman's Beethoven was both joyous and stern. Eyes closed, his expressive face ever changing from grave to beaming rapture. His grey mane and powerful gestures evoked the physical spirit of Beethoven - like a channelling. Only minor tuning slips in the low register kept the performance from being worth a recording release.