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The final installment of the Mostly Mozart festival began on July 25. Shanta Thake, Lincoln Center’s chief artistic officer, has revealed that conductor Jonathon Heyward will take over as the festival transitions into something new next summer, although the exact details are yet to be known.
This sense of uncertainty reflected in the festival’s first two programs. Thake made her mark on the concerts held at David Geffen Hall by stepping onto the stage before the performances and leading the audience in taking a deep breath, followed by expressing gratitude towards teachers, artists, and neighbors. Instead of physical programs, attendees were encouraged to scan a QR code for access to the online program. However, they were later instructed to put away their phones during the performances. This left many wondering about the proceedings.
Despite the confusion, attendees responded positively to the music. The first program, conducted by Louis Langrée, featured the world premiere of Amir ElSaffar’s Dhikra (Remembrance) alongside Mozart’s Mass in C Minor. ElSaffar, an Iraqi-American musician known for his work in jazz, showcased his trumpet and santur skills (a hammered dulcimer) while incorporating microtonal melodies from the maqam tradition. Hamid Al-Saadi’s powerful vocals, singing fragments of Iraqi poetry, took center stage. The piece started slowly with ethereal drones from Mostly Mozart Festival Orchestra musicians in the balconies but gradually evolved into captivating jazz-infused episodes from ElSaffar’s Two Rivers Ensemble. The fusion of styles, drawing on Mozart’s interest in Turkish music, proved to be a satisfying experience.
The Mass also took time to find its stride. Langrée led the orchestra with clear and elegant playing, but it was the choral singing in the “Qui tollis” that truly brought out Mozart’s rhythms. The Summer for the City Chorus, prepared by Malcolm J Merriweather, delivered an outstanding performance. The soloists, soprano Erin Morley and mezzo Kate Lindsey, impressed with their gorgeous and luminous singing, reaching a peak during Morley’s sensual rendition of “Et incarnatus est.”
The concert on July 28 was titled “Classical to Neo-Classical” and did not feature any Mozart compositions. Instead, it opened with the Overture to Domenico Cimarosa’s The Secret Marriage, followed by a melodic movement from Fela Sowande’s African Suite, and concluded with Adolphus Hailstork’s Symphony No. 1. Conducted by Thomas Wilkins with precision and grace, the standout performer of the evening was the young bassist Xavier Foley.
Foley performed a duet with violinist and concertmaster Ruggero Allifranchini in his original composition, For Justice and Peace, and later showcased his talent as a soloist in Bottesini’s Double Bass Concerto No. 2 in B Minor. Foley’s performance was exceptional, demonstrating impeccable intonation, agile articulation, and a silky arco sound. His playing exuded grace and clarity, bringing joy to the audience.
However, Foley’s composition did not match the coherence of his performance. Despite the soloists
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