Cathalena E. Burch You could hear clapping in the Linda Ronstadt Music Hall Friday night when renowned violinist Anne Akiko Meyers performed Arturo Márquez's mariachi-inspired concerto"Fandango."
Meyers bowing, hitting the top half of her historic violin's strings then the bottom in succession but never altogether, created a hallow thumping that deliciously mimicked stomping. Most of the heavy lifting was on Meyers, from long solo lines in the sultry and sublime"Plegaria" movement to the rush of the finale where her fingers danced over the fret at a pace that at times seemed almost a blur from the audience.
That TSO performance was a feat of physical and virtuosic dexterity; this one was equally as challenging, but it also seemed to strike a deeper resonance for Meyers. Every note she played and subtle gesture, from an occasional passing glance toward Gomez at the podium and nod toward the musicians behind her, telegraphed to the audience her deep respect for the musical traditions of Mexico that Márquez represented.
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