The Orlando Philharmonic is alive and doing well, thanks to great leadership. Music Director Christopher Wilkins seems to have a gift at knowing his audience - as well as knowing just what will delight them in surprise. The seasoning opening concert is a perfect example: who doesn't want to hear Beethoven's Ninth? The pairing with Brahm's light and tuneful Variations on a Theme by Haydn was perfect. But presenting favorites from the masterpiece library isn't all that an audience wants. Audiences want to feel special. That's just what they felt when the attending choirs sang "The Star Spangled Banner" from behind stage. As corny as that sounds, believe me - it wasn't. The sound melted into the audience from seemingly from every direction  - gorgeous, wordless, simple vocal harmonies emanating from the huge spaces behind the stage resulting in a sonic image that is indescribable. Naturally, Chris enters in time for an orchestral introduction and the Big Community Standing Sing. Quite a great way to start any concert - with the audience singing their hearts out!

But, before any music hit the air, another statement was heard from the leadership of the organization - that from Executive Director David Schillhammer. David has always been a good speaker and fronts the organization well - but, this evening, he did more than introduce the season and the orchestra's major financial supporters. He brought up the failure of the Orlando Opera and explored that fact. Then he called for arts organizations and their communities to support each other, not just to survive, but to thrive from shared interests and mutual professional intersupport. The evening lived up that ideal, by inviting the Orlando Chorale, the (former) Orlando Opera Choir and the University of Central Florida Choir. 

Bob Carr sounded fantastic, too. I still can't believe it is the same hall. Just by getting rid of the back reflective shell, the music now reverberates and strengthens in the giant tall box of the back stage and is not lost. But it drives out to the audience with a warm reflective sound with the half clouded ceiling over front half of the orchestra to produce a balance!  The bass frequencies were especially warm and detailed in this concert. 

The performances were very, very good ! And, regardless that over 200 voices stood on risers 50 feet behind the orchestra - the huge groups' timing was precise, never feeling heavy or strained. That is an achievement in itself, considering the high tessitura of the work. The sold out crowd left the hall feeling the Joy and profundity of the Ninth.