This weekend, March 4, the Okanagan Symphony Orchestra performed a lavish concert in their presentation of The sacred and the profane.

Featuring a variety of French sacred music Requiem from Gabriel Faure to the naughty and profane cabaret songs of Edith Piaf, it was a contrasting and intriguing evening.

The concert opened with guest tenor and Ukrainian-born Alex Wedensky singing the Ukrainian national anthem, Shche ne vmerla Ukrainy. As a sign of solidarity and support, all performers at the evening wore blue and yellow ribbons, a response and recognition to the current war in Ukraine.

The OSO Choir then joins the orchestra for the first time in more than two years for the comforting and optimistic song of Gabriel Faure Requiem. Muted and respectful Introit and Kyrie ultimately reassuring In Paradisethe choir and orchestra performed as a unit with exquisite play of themes and overall harmony.

The rich baritone solos of Alex Wedensky in the Offertory and Release meand the beautiful and sincere solo of soprano Siobhan Raupach in Jesus Pie.

Maestra Rosemary Thomson conducted without a baton, always ensuring that the balance was perfect, the entries were timely and the package was tight. Congratulations to Susan Shaffer for her beautiful violin solos in sanctus and In Paradise.

After the intermission, the Okanagan Symphony Orchestra launched into Overture to Orpheus in the Underworld by Jacques Offenbach. A musical synopsis of the best melodies of popular 19th century operetta (including an energetic interpretation of the outrageous Infernal gallop also known as Can-Can), it was a light and frothy work perfect after the introspection of the Requiem.

The OSO then welcomed Judy Rose, singer to perform Three Edith Piaf signature songs. An accomplished performer who graced stages in Memphis, New York, Paris and London, Rose’s renditions were powerful and raucous, making them unique. From the rising voice of Life in pink through enthusiasts The hymn of love until the final challenge I regret nothingthe selections combined both sacred and secular elements, making audiences scream to their feet.

The program ended with the interpretation by the concert pianist Lorraine Min of the Piano by Camille Saint-Saëns Concerto No. 2. Min, who received his doctorate in music from the prestigious Julliard School of Music, captured the varied and contrasting character of each movement.

The opening Andante sostenuto was solemn and majestic, and Min created atmospheres that were sometimes hushed and sacred, then passionate and fierce. Attention to musical detail resulted in rich subtext that added dimension to the performance.

Don Quixote Allegro Scherzando was a stark contrast to the opening movement with Min engaging in playful dialogue with the orchestra.

The final at the Tarentelle Presto was a fierce dance from the start. Min soared through scales, leaped through octaves, and crashed through chords with precision and agility. Maestra Thomson handled the frenetic pace, keeping soloist and orchestra firmly in hand. With excellent balance, tight entries, and attention to detail in articulation and phrasing, the concerto roared to an exultant finale, bringing the audience to their feet in a thunderous ovation.

The sacred and the profane was a tour de force embracing deeply emotional sacred hymn works set to secular 19th century dancehall music. Congratulations to the Okanagan Symphony Orchestra for delivering an evening with such heart and dedication.

Anita Perry is a music teacher and performer at Summerland.

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Classical musicConcertsLive music