MUSIC REVIEW : Falletta Opens New Season With Polish

Since its emergence a decade ago as a serious musical contender, the Long Beach Symphony has come a long way toward fulfilling its considerable promise.

Opening its 57th season Saturday night in Terrace Theater, before another sold-out house, the orchestra again displayed its musical wares brilliantly. Under JoAnn Falletta, beginning her third season as music director, the ensemble offered music by John Adams and Camille Saint-Saens in the first half, Gustav Mahler’s imposing First Symphony in the second.

For an orchestra that gets together not much more often than a dozen times every season, this one upholds its own high standard extremely well.

In its strong display of virtuoso playing Saturday, however, over-brilliance too often played a part. This growing raucousness throughout the orchestra was certainly not characteristic of the ensemble’s usual sound in the 1980s.

To blame the acoustical properties of Terrace Theater for the over-brightness heard in Adams’ attractive “Short Ride on a Fast Machine” or in extended parts of Mahler’s First would not be realistic; 13 years’ experience in this room informs us that any perceived metallic loudness in those passages came from the orchestra.

On the other hand, Falletta’s clear rapport with this music--both Adams’ and Mahler’s--cannot be denied.

The conductor commands the thrust and scenario of “The Titan” and proved so in countless details of timing, control and instrumental balances. Mahler’s linear scheme--especially when one uses the once-disparaged “Blumine” movement, as Falletta chose to do--emerged apprehendable and convincing, and the orchestra played with more polish than one could have anticipated.

More contrasts were in order in the Adams morsel--which lasts less than four minutes. But what would have helped even more would have been a companion-piece, something equally contemporary, but different in texture and sound.

The resulting two-part overture might also have set up more effectively the Romantic elegance of Saint-Saens’ Second Piano Concerto.

As played here by Jose Feghali, winner of the 1985 Van Cliburn Competition, the old war-horse lacked its usual charms.

The Brazilian pianist, now 30, gave a labored and unconvincing performance of the impassioned opening, a perfunctory run-through of the usually irresistible second movement and only crude articulation to the Gallic eloquence in the finale. What brought this pianist together with this concerto was never made clear; he played it competently, but without heat or projection or pianistic polish.