The Philidelphia Orchestra continues to reward patrons with fantastic, powerful, memorable concerts. 

We find ourselves drawn back to the Kimmel Center when we want to experience the highest quality concerts available in the United States. The combination of brilliant acoustics, competent audience members, courteous staff, safe surroundings, and—most importantly—the ability to draw apex musicians and surround them with talent to match their capacities is unrivaled. 

Tonight we were treated to a Spotlight Series performance. Yo-Yo Ma and Kathryn Stott performed without an orchestra. A packed house came to listen to the most popular, and arguably the best cellist alive today perform with his favorite virtuoso pianist. Extra seating was available on the stage to allow a few more individuals to enjoy the performance. 

The transcendental performance deserves better adjectives than are available in the English language. To say in was moving, beautiful, heart-wrenching, healing, and joyful would only scrape the surface. 

They filled the evening with pieces that emphasized and accentuated their skills. It is a rare professional indeed who can play the full breadth of an instrument’s emotional capabilities without feeling forced or exaggerated. Nothing felt superficial or insincere in the performance as they hypnotized the audience into a trance that caused the night to pass by as if it were an exceptional dream. 

They flowed directly between the first set of pieces without stopping for the audience to applause in order to maintain the sense of reverence the performance demanded. These included: 

• Fauré Berceuse, Op. 16
• Dvorak “Songs My Mother Taught Me,” from Gypsy Songs, Op. 55
• Assad Menino
• Boulanger Cantique
• Fauré Papillon, Op. 77

They then offered us an insightful interpretation of Shostakovich’s Cello Sonata in D minor, Op. 40. 

Following the intermission they engulfed us with two additional works, Pärt Spiegel im Spiegel and Franck/transcr. During this simple, haunting piece they displayed pictures from the Hubble telescope. 

The final piece on the program was Delsart’s Violin Sonata in A major, transcribed for cello and piano from the original violin concerto. More than many of the others, this entry demonstrated Kathryn Stott’s  mastery of tone, color, speed, and touch on the piano. Throughout the evening, her playing showcased and framed the cello’s sound as few can do. 

We would not let them leave without an encore, and they obliged us with another pensive piece that brought out the tissues. 

After the first encore, we were to treated to another one featuring a playful tune from one of Yo-Yo Ma’s albums, which left us in an upbeat mood as we left the hall.

If you can only visit Philidelphia for one day, it should including seeing Constitution Hall, enjoying a cheesesteak, and attending a concert in the Kimmel Center at the soon-to-be-christened Marian Anderson Hall.

To learn more about the Philadelphia Orchestra and their upcoming performances, please visit them online.

^{*we were invited to facilitate a feature, all opinions are our own*}