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She played the cadenza as if facing down danger. She went inside the melancholy slow movement, lingering in its deepest, darkest, gloomiest corners. She hammered the opening motto as if it were a knock on the door that would change your life. PHOTOS: Arts and culture in pictures by The Times
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Still, I’m not so sure she knew where she was - or cared. With Kahane, she had generous support and thanks to smaller LACO, a more chamber-like situation. Petersburg in the Shostakovich concerto, the orchestra challenged her, soulful phrase for soulful phrase.
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When Weilerstein took on the guys from St. The evening also featured the weird world premiere of a bassoon concerto by a young French film composer, Hugo Gonzalez-Pioli, written to accompany a 1927 experimental French silent film, “The Love of Zero.” It began with a wondrous score by a rising star, Anna Clyne, that Esa-Pekka Salonen premiered with the Los Angeles Philharmonic in 2009. LACO’s strange program, focused around youth, seemed to promise greater novelties. She’s appeared recently with the Los Angeles Philharmonic and the Pacific Symphony. Petersburg Philharmonic at Walt Disney Concert Hall two years ago. She had played the bejesus out of the concerto with the St. There was no reason not to believe she would blast the roof off Royce, but this no longer seemed news. She’s matured she’s now a star and Sunday night Weilerstein was back with Kahane to close out LACO’s season with Shostakovich’s First Cello Concerto. She was already being followed with intense interest by the music business. Weilerstein had been on LACO music director Jeffrey Kahane’s radar three years before she made her debut with the orchestra. The crowd at UCLA’s Royce Hall was clearly captivated. I wrote then that when she matures, look out. Appearing with the Los Angeles Chamber Orchestra eight years ago, 23-year-old Alisa Weilerstein was a playfully kittenish cello soloist in Tchaikovsky’s “Rococo” Variations.