Retrospective

By PHYLLIS A.S. BOROS

from the September 25, 2005 issue of the Connecticut Post
© Connecticut Post, reprinted with permission.

For the Greater Bridgeport Symphony, there’s no better time to celebrate than the present.

As the venerable orchestra prepares to kick off its 60th anniversary season on Saturday at The Klein, it is with the conviction that it may very well be one of the most unusual musical groups in the nation — and it has never sounded better.

Although many contemporary orchestras are plagued with a constant clash of egos among musicians, conductor, board and management, that problem seemingly doesn’t exist in Bridgeport, says Robert S. Tellalian, who has served as the GBS’ chairman of the board for the last 14 years.

“It’s an amazing situation” thanks to the nurturing nature of its world-class conductor, Gustav Meier, and a group of extraordinarily dedicated musicians, he says.

“Here, there is genuine affection and respect, especially between the orchestra and Gusti.”

And a lack of tension and discord, say several GBS musicians and staff members, has allowed the nonprofit orchestra to focus on one thing: making great music.

Meier, who commutes to Bridgeport from his home in Ann Arbor, Mich., is among the world’s most renowned teachers of conducting. He heads the graduate conducting program at Johns Hopkins University’s Peabody Institute in Baltimore and spends his summers leading international workshops.

(This summer found Meier in Bulgaria, Germany and California, where he teamed with former student Marin Alsop, music director designee of the Baltimore Symphony Orchestra, who last week was awarded a $500,000 MacArthur Foundation prize for her “innovative interpretations” of classical music.)

“It is one of my special places that I cannot do without,” the Swiss-born Meier says of the GBS. “It is an orchestra which over time has developed into a wonderful ensemble with a unique personality.

“It is very strange,” but Bridgeport is the only orchestra in Meier’s experience where the joy of making music and serving the composer are paramount.

“It is not just another gig for these musicians. At many orchestras, the musicians come, they play, they pack up their instruments and it’s over. But in Bridgeport, it is not over when it’s over. We are always working out problems together, always willing to compromise.”

Meier says he agrees with music critics who contend that the orchestra is continually improving.

“It is definitely true: The orchestra has never sounded better,” said the maestro, who is entering his 34th season at the GBS helm. “The core musicians know how to function together. There are no tantrums. Everyone knows what they should be doing — the result of a long-term relationship.”

The GBS’ roster of approximately 65 “core” musicians (those who play under contract) hail from Connecticut, New York, New Jersey and beyond. All are professional musicians, who have trained at many of the world’s finest universities and conservatories, including Yale, Juilliard and Hartt. Several have advanced degrees or doctorates. All have secured their place in the orchestra by audition.

Many perform in a host of ensembles in the region, including the Hartford and New Haven orchestras and Stamford’s Connecticut Grand Opera & Orchestra. Several have their own jazz or classical groups, perform with pit bands on Broadway or in classical groups in Manhattan. For many, “day jobs” involve teaching in their own studios or at public and private schools and universities.

As the landmark anniversary approaches, several musicians shared their opinions on what gives the orchestra its distinctive character. Here’s a sampling, from various groups of musicians:

Fairfield violist Silvio Risi, a string player for nearly 70 years, has performed with the GBS since its very beginning.

“I was a child prodigy,” says Risi, laughing, of his life-long GBS affiliation. “It is the music itself that gives me so much joy — playing Mozart and other great composers — and, of course, performing with a gentleman like Gustav Meier.”

James Ranti, of Hartsdale, N.Y., served for 15 seasons as principal trumpet with the Montreal Symphony under the direction of Zubin Mehta before relocating to the region and joining the GBS 26 seasons ago.

“It’s the camaraderie that sets this orchestra apart,” says the GBS principal trumpet player. “People really like one another and really like the conductor. Let me tell you, not all conductors are created equal; some are really nasty,” he says, laughing. “But Gustav is a joy to work with, a great person and a great musician.”

Principal bassist Milton Beisiegel of Trumbull, also a veteran of several decades, adds that Meier’s ability to get the most out of his players is legendary.

“Last May, we did Beethoven’s 7th on one rehearsal” instead of the usual three because it was a make-up concert for a January snowstorm. “It was an amazing performance . . . I just don’t understand why the New York Philharmonic isn’t beating down his door.”

Violinist Michael Yusko, who recently relocated from Stamford to Birmingham, Al., plans to commute to concerts this season because “I like playing with Gustav and don’t want to give it up. It’s probably the best orchestra I have ever played with.”

Principal timpanist James J. Musto III of Bogota, N.J., has been commuting since 1989. Why?

“It all comes down to Gustav. He’s a phenomenon. In a few words, he can illuminate an entire symphony and make you aware of things you haven’t even thought of. I’m in awe of him; he’s a model of Swiss precision. He ignores no detail; doesn’t miss one note.” In a world of cheap watches, “he’s a Rolex.”

Principal cellist Dr. Darilyn Manring, of Georgetown, has been with the GBS since 1974. Over the years, she has held various short-term university teaching positions — in Louisiana, Pennsylvania and Wyoming — but has “always flown in or trained up for the concerts.”

The GBS “is really an important part of my life. The support of the community, Gustav Meier at the helm and the strength and commitment of the players make for a winning combination.”

Being able to share a love of music, performance experiences and common friendships is special for three GBS couples: Dorothy Straub, viola, and Robert Genualdi, bass, of Bridgeport; Sarah and Mark Ribbens, both bass players of Trumbull; and principal French horn Susan Spaulding and principal percussionist Anthony DeQuattro, of North Haven.

DeQuattro says he enjoys performing with his wife in such a positive environment. “In some orchestras, the musicians are miserable. But here, we’re happy because performing with Gustav is musically fulfilling. Our goals are not to be somewhere else . . . to get a better gig. This is success for us.”

Genualdi, a GBS member for more than 30 years, adds that he and his wife “love playing for Gustav because he’s so musical. He’s concerned with so much more than just the notes, the rhythm. He has such vitality and sensitivity and he conveys that very beautifully.

“It’s really wonderful to play with people who care about making music. And that’s the case in Bridgeport, which has developed into a very good orchestra.”

T.D. Ellis, bassoonist, is one of the orchestra’s most recent hires. He’s the owner of the Music Source in Old Greenwich, which is billed as the biggest print music store between New York and Boston. Although he’s only been at it for one full season, he already knows that this is a “great, rewarding place to play.”

Concertmaster Deborah Wong, of Yonkers, N.Y., who is now entering her fourth season, studied violin under the legendary Dorothy Delay at the Juilliard School, where she received bachelor’s and master’s degrees. She now performs as a soloist, chamber musician and guest concertmaster throughout the country.

“Without doubt, the orchestra’s greatest strength is Gustav. He really inspires the group to rise to the occasion. I’m thrilled to be working with him.”

If any group within the orchestra exemplifies the musicians’ passion for profession, it’s the behind-the-scenes workers who help the GBS run smoothly, says Executive Director Jena Maric.

Percussionist Steve Collins of Trumbull is the GBS’ librarian, responsible for acquiring, preparing and distributing all the printed music to the musicians. He’s also percussionist and education director at the New Haven Symphony Orchestra.

“The high caliber of musicians and the lack of usual orchestra politics and bickering are what make the orchestra such a pleasure,” Collins says.

“Gustav is a true master of the traditional repertoire; it’s a real inspiration to work with someone who knows the repertoire with such intimacy. He’s such a skilled communicator, and his conducting technique is unparalleled.”

Clarinetist Kathryn Taylor of Redding is co-chair of the orchestra committee (along with DeQuattro), serving as a musicians’ representative on the board. Taylor, who describes Meier as “the real deal, an Old World master,” tours the country as a member of the renowned Borealis Wind Quintet.

Violinist Kate O’Brien, of Orange, is the GBS’ personnel manager for strings, a strings teacher and co-leader of Moxie, a popular area swing band. “I’m always happy to be under Gustav’s baton because he always makes me feel enriched musically.”

Personnel manager for winds, brass and percussion is principal flutist Jane Shelly of Stamford, who joined the GBS in 1988. During that summer, Shelly was informed that she would be performing a flute solo in the first concert of the season.

“We were doing Ravel’s ‘Shéhérazade,’ and Frederica von Stade was singing. I got a recording and nearly died when I heard the solo . . . it was so long, so prominent and breathtaking. I was driving and literally had to pull over to the side of the road.

“Anyway, the concert came and I guess I did pretty well . . . Gustav sent his compliments to me in the orchestra room during the intermission.

“I think without a doubt [that it was] the most incredible moment in my career — and hence life.”