CGCO plays Mozart, Beethoven, Saint-Saëns and Fauré

Soloist Ariana Kashefi is a commanding presence on the contemporary and classical stage, acclaimed for her warm, resonant tone and incisive musicality. Equally adept as a soloist, chamber musician and orchestral principal, she brings meticulous technique and expressive depth to a wide-ranging repertoire, from baroque intimacy to virtuosic modern works. Ariana’s performances are noted for their lyrical phrasing, vivid storytelling and refined rhythmic drive, earning praise from audiences and critics alike. A committed collaborator and advocate for new music, she regularly premieres commissions and works closely with living composers, while her thoughtful programming and engaging stage manner make her a compelling ambassador for the cello.

Conductor George Vass brings commanding musical insight and expressive clarity to every performance, combining rigorous technique with a warm, engaging presence on the podium. Renowned for his intelligent programming and keen attention to orchestral colour, he draws nuanced performances from players and communicates directly with audiences, making both familiar repertoire and contemporary works come alive. His collaborations with leading soloists and ensembles reflect a deep commitment to artistic excellence, while his energetic rehearsal style and thoughtful interpretation ensure emotionally compelling concerts that resonate long after the final chord.

Mozart’s Symphony No. 31, “Paris”, is a dazzling display of 18th‑century brilliance — bright, poised and irresistibly engaging. Composed in 1778 for the cosmopolitan audiences of Paris, it opens with a vivacious, trumpet‑flushed Allegro that confidently announces Mozart’s extraordinary flair for orchestral colour, followed by a lyrical Andante that charms with graceful melodies and exquisitely elegant wind writing. The finale sparkles with lively rhythmic verve and deft counterpoint, bringing the work to a triumphant and satisfying close. Short, radiant and perfectly crafted, the “Paris” Symphony captures Mozart at his most urbane.

Saint-Saëns’s Cello Concerto No. 1 in A minor is a compact marvel of lyricism and virtuosity, avoiding grandiose gestures while delivering concentrated drama. From the opening, the solo cello sings with a poised, vocal line that alternates between aching tenderness and fiery bravura, its melodic clarity framed by Schumann-like piano texture transferred to orchestra. Harmonic clarity and rhythmic crispness propel the work: crisp string accompaniments and wind interjections carve out a conversation around the soloist, while nimble passages and spiccato runs demand technical finesse without sacrificing warmth. The central sections broaden into moments of hushed intimacy and restrained nostalgia, then build organically to a finale that juxtaposes playful roulades with resolute, hymn-like statements. Throughout, Saint-Saëns’s economy of material and classical balance create a concerto that feels inevitable and perfectly proportioned — an elegant showcase of cello sonority, expressive depth and sparkling craftsmanship.

Fauré’s Pavane unfolds with an elegant, understated grace: a slow, lilting procession where a halo of string warmth and soft woodwind colours gently carries the plaintive, arching melody. The harmonic language is refined and modal-tinged, creating a wistful serenity rather than overt drama; moments of delicate dissonance resolve into luminous repose. Rhythmic restraint—marked by a poised, almost ceremonial pulse—allows each phrase to breathe, while subtle orchestral shading (muted brass, harp arpeggios) adds a shimmering translucence. The work feels both intimate and outwardly stately: an evocation of late 19th‑century French refinement that balances melancholy remembrance with serene, luminous beauty.

Beethoven's Symphony No. 1 in C major, Op. 21, composed between 1799 and 1800, announces a composer rooted in the Classical tradition yet already probing its limits; it opens with a poised, almost conversational Allegro that toys with expectations of harmony and cadence, proceeds through a lyrical Andante cantabile con moto that balances grace with quiet tension, presents a charming and rhythmically nimble Menuetto — more animated than the name implies — and concludes with a spirited, inventive Finale that alternates wit and buoyant drive. Though often seen as less tumultuous than his later symphonies, No. 1 reveals Beethoven's distinctive voice through subtle rhythmic surprises, vigorous wind writing, and an insistence on dynamic contrast, marking the work as both a confident statement of mastery and the first step toward the radical innovation to come.