There is a special species of concert programming when a singular focus is trained on a particular composer — provided that said composer has a rich and varied oeuvre and the performer(s) shows a strong and deep relationship with said body of work. A power of compare-and-contrast and overview wisdom comes into play, as witnessed with Garrick Ohlsson’s stellar all-Chopin recital at the Lobero Theatre earlier this year.
The symbiotic effect landed at the Lobero again last week, as Canadian (and worldly) pianist Louis Lortie gave the Ravel-heads among us much reason to cheer and ponder over with his all-Ravel piano program. Just as Ohlsson’s appearance was courtesy of the CAMA’s hosting aegis, Lortie was also in-house as a CAMA guest, making his first appearance with the 106-year-old organization and kicking off its chamber music “Masterseries” component, with the flair and sensitivity due the composer in the spotlight.
At the Lobero, timed with the 150th birthday of the great French master, Lortie — an acknowledged Ravel specialist, just as Ohlsson is a laureled Chopin man — quickly showed his insight and deep understanding of Ravel’s music, from top to bottom. He presented a sweeping range of music, written between 1899 and 1911, opening with the familiar, tender musical graces of “Pavane pour unde defunte (Prelude to the Afternoon of a Faun)” and closing with the mad, twisted waltz workout of “La Valse.”