Buffalo Philharmonic Orchestra at Kleinhan’s Music Hall on May 12, 2024

Ludwig Van Beethoven’s famous Symphony No. 9 in D Minor is one of the supreme masterworks in musical history — probably one of the top five or 10 greatest classical works ever — but I didn’t necessarily feel the magic on Saturday night at Kleinhan’s Music Hall watching the Buffalo Philharmonic Orchestra.

Of course, this wasn’t a bad performance, by any means — the BPO remains one of the best orchestras in the USA. Rather, I believe that Beethoven’s Ninth was overshadowed by the opening piece: a sterling rendition of Jean Sibelius’ Concerto in D Minor for Violin and Orchestra, with world-class Nikki Chooi as the impressive soloist. Conductor JoAnn Falletta coaxed every bit of beauty out of the piece, with impressive soft-loud dynamics perfectly complementing Chooi’s virtuoso performance.

Meanwhile, the Beethoven didn’t have quite the same dynamics: the loudness and epic nature of the performance was a tad overwhelming after the serene beauty of the Sibelius. The woodwinds slightly clashed with the strings throughout the piece, and I’m not quite sure that lead baritone Lester Lynch exactly hit the mark during the climactic choral “Ode to Joy.” Nevertheless, the First Movement still sent chills up my spine, and several moments throughout the piece reminded me why Symphony No. 9 remains such an integral part of my musical life.

Funny how concerts can turn an established piece of music into a living, breathing life form. For instance, I’d never considered Sibelius’ Violin Concerto one of the composer’s key works, yet the expert performances of Chooi and Falletta changed my critical perception. Likewise, never would I rank a Sibelius over Beethoven’s Ninth…other than tonight, that is.

And while I’m here, how about the first ever Colin’s Review: Architecture — Kleinhan’s Music Hall is a Grade A work of art. Designed by Eliel Saarinen and his son, Eero, the building is symmetrical and graceful, influenced by Le Corbusier and harmonic European styles, with rounded curves that make you feel like you are part of something infinite. Both inside and outside, Kleinhan’s is a remarkable building that boasts tremendous acoustics and a scenic yet non-assuming silhouette: an architectural work that inherently improves the functions within.

The BPO’s performance was boosted by the Saarinen’s fantastic design, even if Beethoven wasn’t.