Boston, MA

The Boston Globe

Three Fiddlers deliver a rousing performance

Thursday, May 23, 2002
By Ricahrd Dyer, Globe StaffPage: C3 Section: Living Arts
MUSIC REVIEW

The Boston Pops
Keith Lockhart, conductor
At: Symphony Hall, last night

Last night's "Fiddlers Three" concert will go down as one of the great Boston Pops events, especially after it goes out to a world audience on "Evening at Pops."

Three famous violinists from three necks of the musical woods were conductor Keith Lockhart's guests - Nadja Salerno-Sonnenberg, from classical music; Regina Carter, from jazz, and Eileen Ivers, from Celtic and folk music. Each had a solo set, then the three women came out for the grand finale, the world premiere of Chris Brubeck's "Interplay," which was written especially for this occasion.
"Interplay" is a terrific piece that brought the audience to its feet. It began, at warp speed, with zigzag interlocking phrases for the solo violins. Then the orchestra chimed in, and each soloist had her moment in the sun.
Carter got a slow, bluesy torch song. Ivers took it over and played in another rooted style, before launching into one of her amazing accelerando takeoffs that leaves the earth behind. There, in midair, she handed it over to Salerno-Sonnenberg, who had a big, brilliant traditional cadenza with some bent notes in it.
Then the trio landed in Spain for a rousing conclusion. The three women seemed to have fun with each other and the music; Brubeck must have had fun writing it - Vivaldi couldn't have done it any better.
Ivers began her set with an ''Immigration Suite,'' playing first on acoustic violin, then switching to a bright blue electric instrument. She has charisma and technique to burn, but she isn't playing into a mirror - it is all about tradition and renewal. She followed up with a bluegrass number by her friend, Ralph Blizzard, and her instrument streaked faster than a speeding train. When Tarik Winston, tap dancer, came on to punctuate the chugging rhythms, the audience went wild
Carter, coolly elegant in white, offered Ellington's ''Come Sunday,'' Gershwin's ''Lady Be Good,'' and Milt Jackson's ''For Someone I Love'' with her own ensemble of four supporting players, including the brilliant percussionist, Mayra Casales.
Carter bent and twisted notes and rhythms with irresistible sophistication - you would swear that her violin was talking and singing words.
She paid verbal tribute to Stephane Grappelli. ''I heard him play when I was 16, and decided I had to be a jazz violinist. My mother told me I had to learn to play in an orchestra so I would have health insurance. I have health insurance today, and now she's cool with jazz.''

Salerno-Sonnenberg, in blue-and-black glitter, brought glamour, personality, daring, chops to burn, and questionable musical taste to Saint-Saens's ''Rondo Capriccioso.'' You couldn't take your eyes and ears off of her, but the music plunged off the deep end and became ''Rondo a la burlesca,'' complete with bumps and grinds.