MUSIC AND DANCE REVIEWS : Romero Plays With Pasadena Symphony

Things were well in order Saturday night at the Pasadena Civic Auditorium, as conductor Jorge Mester flexed an expectedly sure hand over his Pasadena Symphony. What was unexpected, at least in some measure, was the nature of the program.

Except for Schubert’s Ninth Symphony, which sprawled over the concert’s second half, a peripheral Latin theme hovered over the programming, between Respighi’s 1928 homage, “Brazilian Impressions,” and Rodrigo’s “Fantasia para un gentilhombre,” an orchestral-guitar treatment of themes by 17th-Century composer Gaspar Sanz. Respighi’s work, performed admirably here, is a colorful, charming lark. Vaguely Romantic--and romantically vague--it comes across as a series of sonic, scenic images conjured up from the memory of a smitten traveler.

Guitar soloist Pepe Romero lavished his formidable technique on the Rodrigo, a refreshing departure from the composer’s oft-played guitar warhorse “Concierto de Aranjuez.” Light amplification posed an agreeable enough solution to the perennial dynamic problem of blending gut-string guitar with an orchestra. Yet, given the guitarist’s bravura and unswerving confidence, amplification may not have been necessary.

Romero briefly lost his place amid the “Ricercare,” but quickly regained his characteristic composure and clarity. He’s the kind of runner who can stumble and still finish the race heroically.

After intermission came Schubert’s purely symphonic challenge. Mester demonstrated a clear and commanding idea of how it goes, although hewing closer to its triumphant than its introspective qualities. Toward the end, the well-tooled orchestra gave respect to the taut, centrifugal force that propels the music to a majestic resolution. It was a fine, semi-Latin night at the symphony.