INSTITUTE OFFERS A TASTE OF REALITY

The young players and conducting fellows gathered this summer at Cal State Northridge for the Los Angeles Philharmonic Institute will have as teachers several members of the Philharmonic and a handful of visiting conductors.

But, says Joseph Silverstein--one of those visiting conductors--perhaps the greatest teacher of all will be the institute itself. The former Boston Symphony concertmaster, and currently music director of the Utah Symphony, stressed that playing in such a handpicked ensemble gives these young musicians “the opportunity to finally play with kids at their own high level or higher. This is a quasi-professional experience. No music school, even the best, can provide that.”

Another advantage, Silverstein continued, is that the institute “gives the young players a chance to take a hard look at themselves. Here they are in a near-professional situation. They can ask, ‘Is this something I really want to do? Is this what I expected?’ At worst, they may end up as happy amateurs, choosing to go to law school or whatever, but maintaining their interest in music. And that’s fine.”

Silverstein, 54, will be on hand at the institute this week, lending his years of experience both in an orchestra and in front of one, concluding his visit with an appearance next Sunday in Royce Hall, UCLA, at which he will conduct and double as soloist in Beethoven’s Violin Concerto.

Speaking from his residence in Tanglewood, Mass., where he serves as artistic adviser to the training institute at that summer music center, Silverstein discussed the dramatic change in the quality of young musicians. “They’re much more pragmatic now--particularly the string players. About 12-15 years ago, a violinist would audition for an orchestral position by playing the first movement of the Tchaikovsky Concerto and figure that was enough.

“Now, they have a more serious attitude. They prepare. They study the orchestral repertory. In my classes, we’ll discuss such matters as: What if they’re asked to play a piece faster or slower? How do they cope with nerves? These things were not thought of years ago.”

The higher level of preparedness, the improved quality of teachers these days and--as always--the intense competition for the few orchestral positions add up to a crop of quality players superior to any generation Silverstein can recall. “The shortage of good orchestral string players that reached crisis proportions a few years ago is over.

“Recently, something occurred to me while I was working with the Tanglewood Orchestra. That group may just be the 14th best in the country. Player for player, it is phenomenal.

“And, I understand, the same type of quality is present at the Philharmonic Institute. I’m very excited about coming out.”

AT THE BOWL: This week in Cahuenga Pass, the Philharmonic will be led by Kent Nagano, who recently completed his second consecutive season as music director at the Ojai Festival. The 34-year-old conductor will make his Hollywood Bowl debut on Tuesday, leading Berlioz’s “Corsaire” overture, a suite from Prokofiev’s “Romeo and Juliet” and, with Ursula Oppens as soloist, Beethoven’s Piano Concerto No. 4. On Thursday, Nagano returns for a two-part program consisting of Stravinsky’s “Sacre du Printemps” and Brahms’ Double Concerto. Two Philharmonic first-desk players will be soloists in the latter: violinist Alexander Treger and cellist Daniel Rothmuller.

On Friday and Saturday, dance returns to the Bowl stage with a program of excerpts from ballets by Petit, Bejart, Balanchine and others, performed by Fernando Bujones, Miguel Campaneria, Lesley Collier, Maria Teresa del Real, Yoko Ichino and David Nixon (see Page 56). Former American Ballet Theatre music director John Lanchbery will conduct.

At Royce Hall next Sunday, the Philharmonic Institute Orchestra will play, in addition to the Beethoven Violin Concerto mentioned above, Stravinsky’s Symphony in Three Movements and Debussy’s “La Mer.” Conducting fellows Alasdair Neale and George Hanson will share podium duties.

ARRIVALS AND DEPARTURES: Cellist Bonnie Hampton, currently director of chamber music at the San Francisco Conservatory, will replace Marius May as cellist of the Sequoia Quartet beginning in September. According to a spokeswoman for the Sequoia, “There were no personal or artistic differences. Marius just missed (his native) England.” Hampton and May were reportedly the two finalists when the Sequoia chose a new cellist in September, 1985. The Bay Area musician will keep her post at the conservatory, the spokeswoman noted. May, who will return to England and resume his career as a soloist, will make his final appearance with the Sequoia on July 27 at the Getty Museum.

Sergiu Comissiona, music director of the Houston Symphony and chief conductor of the Radio Philharmonic of Hilversum in Holland, has been appointed music director of New York City Opera, effective Jan. 1, 1987, replacing Christopher Keene. Comissiona led City Opera performances of Verdi’s “Atilla” at the Music Center in 1981. This summer, he will lead seven New York performances of Massenet’s “Werther” in a new production. His official tenure, which extends through 1989, will commence next summer.

Richard Bass has resigned as executive director of the San Diego Symphony after only two years in that post. According to a spokeswoman for the orchestra, there is no link between Bass’ departure and the recent near-collapse of the orchestra due to accumulated debts. He was unavailable for comment when The Times attempted to reach him. Bass, former concerts manager of the Los Angeles Philharmonic, is quoted in a statement from the orchestra that “it is time for someone other than myself to take the reins.”

PSYCHIC DANCE PORTRAITS: A dancer who bills herself as Leonora!--the exclamation point is not an editorial addition--will appear at the Ruth St. Denis Studio Theatre on each remaining Saturday of this month, performing (quoting a release) “intimate psychic portraits of audience individuals.” Leonora! will “use her psychic abilities to channel energies of individuals in the audience through the medium of dance.” She will be assisted by Kabbalah Bach on conch, Tibetan cymbals and Celtic drum.