Diego Redel/Courtesy photo
Encores in classical music concerts are a special treat, providing soloists, ensembles, or even entire orchestras the opportunity to add an extra touch of delight and showcase their skills. The Aspen Music Festival of 2023 had its fair share of memorable encore performances.
Below, in chronological order, are the top ten that stood out:
July 2 – Daniel Trifonov (piano): After his remarkable performance of George Gershwin’s jazzy “Concerto in F,” Trifonov astounded the audience with a seamless transition into Debussy’s “Reflets dans l’eau,” seamlessly blending the two styles for five minutes of pure bliss.
July 7 – Maxim Vengerov (violinist): Following a masterful Mendelssohn concerto, Vengerov surprised the audience by teaming up with conductor Nicholas McGegan for a charming rendition of Saint-Saëns’ “Havanaise.” It was a rare treat to see a symphony soloist accompanied by the orchestra, making this performance truly memorable.
July 15 – Renée Fleming (soprano) and Inon Barnatan (piano): Fleming captivated the audience with a mesmerizing encore, showcasing her jazz voice in Jerome Kern’s “All The Things You Are.” Barnatan provided gentle accompaniment, and Fleming closed with a luscious vocal flourish.
July 18 – Augustin Hadelich (violin): Hadelich’s solo recital was already impressive, but his unaccompanied encore performance of Bach’s Sonata No. 2 in A minor, specifically the Andante movement, highlighted the marvelous detail in his playing. The dignified pace allowed Bach’s intricate melodies and counterpoint to shine freely.
July 22 – Edgar Meyer and Christian McBride (double basses): In this unique recital merging classical and jazz styles, the standout encore was a cool and slinky version of Miles Davis’ “All Blues.” Meyer and McBride showcased their superb and innovative bass skills, leaving the audience in awe.
August 2 – Kelley O’Connor (mezzo-soprano) and Robert Spano (piano): In an already captivating recital that included a beautiful new piece by Spano, O’Connor’s rendition of Mahler’s “Ich bin der welt abhanden gekommen” exuded lofty serenity.
August 4 – Steven Banks (saxophone): Banks, a shining star of the season, delivered a flawless performance of Billy Childs’ concerto. For his encore, he played a stately rendition of The Lord’s Prayer on the soprano saxophone, showcasing his soulful and extraordinary command of the instrument.
August 7 – Michelle Cann (piano): Cann’s recital focused on the music of the women of the Chicago Black Renaissance. As an enticing addition, she performed a juicy transcription of Hazel Scott’s boogie-woogie version of Rachmaninoff’s Prelude in C-sharp minor, highlighting her versatility as a pianist.
August 9 – Gil Shaham (violin) and Robert Spano (piano): After a recital that featured the world premiere of Jonathon Leshnoff’s lush composition, Shaham and Spano treated the audience to a gorgeous interpretation of “Meditation” from Massenet’s opera “Thaïs.” Their unhurried performance allowed the music to unfold in all its beauty.
August 18 – Yefim Bronfman (piano): In contrast to a delightful performance of Schumann’s piano concerto, Bronfman showcased his virtuosic skills with a powerful rendition of Rachmaninoff’s explosive Prelude No. 5 in G minor. His vigor and grandeur demonstrated sheer talent that took the audience’s breath away.
However, perhaps the most perfect encore of the year was the surprise addition at the end of the highly popular John Williams film music concert on July 25. Under conductor Maurice Cohn, the entire orchestra performed the Imperial March (Darth Vader’s theme) from “Star Wars,” leaving the audience in awe of the iconic piece.
Harvey Steiman has been writing about the Aspen Music Festival for 30 years. His reviews appear Tuesdays and Saturdays in The Aspen Times.
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