Symphony’s Joy-filled Journey to Modern Times

If anybody isn’t clear about the direction the Santa Barbara Symphony has undertaken, let’s dispel any doubts: This is not your grandfather’s symphony. Not anymore. As in recent years, programs have become progressive, as a wide variety of musical genres, unusual instrumentation, and frequent collaborations are pushing up hard against the old-school focus on classical music chestnuts, as nearly every evening this season is some sort of mash-up. 

“It’s the 21st century, and we need to be open to staging collaborations and playing music that isn’t limited to what is called ‘classical’ music,” said Music & Artistic Director Nir Kabaretti, now in his 18th season at the orchestra’s helm. “We cannot be like a museum that only exhibits 16th or 17th century art. For me, the season should be very versatile, a combination of different music genres and styles combined with masterpieces. We want to play the best music and as long as it involves the core of a symphony – strings, woodwinds, brass, percussion – we’re open. Contemporary doesn’t mean compromise.” 

Accordingly, November’s concerts feature the new music trio Time for Three, January’s is given over to favorite arias from operas through time in a collaboration with Opera Santa Barbara, March’s An Oscar® Celebration has the orchestra playing in front of favorite movie clips projected on the big screen, April’s 3M program mashes up Mahler and Mozart with Wlad Marhulets’ Klezmer Concerto, and May’s Rhapsody in Blue @ 100 boasts not only the Marcus Roberts Trio improvising on Gershwin’s concerto but also Roberts’ own Rhapsody in D. Plus there’s two upcoming partner events: next weekend’s gig with the symphony performing in the Granada’s pit for State Street Ballet’s Giselle and November’s “Moondance,” featuring the ensemble playing new orchestrations for Doublewide Kings’ tribute to Van Morrison – both conducted by Kabaretti. 

“Hopefully, the big variety we offer makes people understand that symphony music is not an elite niche,” Kabaretti said. “As it always was until more recent history, we want to make it accessible for everyone.” 

This weekend’s season-opening pair of concerts might be the most mainstream of the ensemble’s monthly musical offerings that run through May: the symphony’s first performance of Beethoven’s 9th in seven years. But the title for the program is “An Ode to Joy, Hope & Community,” reflecting both the participation of 140 singers from Santa Barbara Choral Society, Quire of Voyces, Westmont College Choir and Adelfos Ensemble joining four soloists, and the inclusion of Aaron Copland’s “The Promise of Living” from The Tender Land and Liszt’s tone poem, Les Préludes.

“The ninth is such a monumental piece that spoke 200 years ago about brotherhood and solidarity, but it’s timely as here we go again with the world a mess with wars and polarization,” Kabaretti said. “For us to have 140 singers, 200 people on stage synchronizing, it truly is such a joy.”

Visit https://thesymphony.org for more information and tickets