The Orchestra of the Americas - Pan-American Reflections - Gramophone

These performances were recorded live at the opening concerts of The Orchestra of the Americas’ 2018 European tour. Overall, the quality of the playing is on quite a high level considering that this is, in essence, a training ground for musicians under 30 and that the orchestra’s entire roster changes from one year to the next. I was particularly impressed by the woodwinds, both corporately as well as in individual solos, and the sturdy string sound (setting aside some audible insecurity in exposed, high-lying passages for the violins). I only wish the trumpets played with greater confidence. But, broadly speaking, the interpretations themselves feel rather reticent. Indeed, I would never have guessed these were live recordings (the audience is nearly silent and applause has been edited out).

Carlos Miguel Prieto displays a fine grasp of the architecture of Copland’s Third Symphony, deftly manoeuvring through the many subtle shifts of tempo, but often seems to err on the side of caution. So, for instance, while he hews close to the composer’s metronome mark for the Allegro molto second movement, it nevertheless comes across as slightly stodgy and lacking in bite. Prieto is most persuasive in lyrical music. The central trio of that scherzo-like second movement – at once mellifluous and piquant – is a lovely example and showcases the strengths of the orchestra’s woodwinds.

Much the same can be said for Chávez’s colourful Sinfonía India. The fast outer sections require more rhythmic drive and flair than Prieto provides; but then listen to the disarming naturalness with which he phrases the folksy tune at 2'18", or how clearly he articulates the exquisitely layered textures at 2'58" – captured with stunning transparency by Linn’s engineers.