In SoCal concerts across one week, Andrew McIntosh, Laurie Anderson, Christian McBride and Patricia Kopatchinskaja impress in radically different ways.
As the likely highlight of his final, 35th season of having revolutionized the Bay Area Philharmonia Baroque, Nicholas McGegan leads a staged, radically and sexually re-imagined performance of an early Handel theatrical work, “Aci, Galatea e Polifemo,” with a starry cast featuring counter-tenor Anthony Roth Costanzo in a female role and baritone Davóne Tines, directed by Christopher Alden.
Two night later, performance artist Laurie Anderson was at Walt Disney Concert Hall with her electric violin as part of an ad hoc jazz trio with bassist Christian McBride and the non-genre-specific cellist Rubin Kodheli. The violin has always had a special place in Anderson’s performances. Hers is such a disconcerting way of looking at our world that when words fail, or when the absurdity of life simply need a moment to sink in, she plays an upbeat or soothing riff on her electric violin.
Her violin answered in a groove. McBride embellished it with his tremendous flair. The classically trained Kodheli, who is adept at world music and has a rock band, supplied melancholy melody that seemed to come out of thin air and remind us what is at stake. , who gave a joint recital with cellist Jay Campbell at Hahn Hall in Montecito. It is the character of a great virtuoso to make the instrument become an extension of the player. Kopatchinskaja, though,The recital included two of the standard violin and cello duos, Ravel’s and Kodály’s, which ended each half of the program with incomparable vibrancy.
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