Philharmonic ends Ham Hall era on high note

The orchestra, which will move to The Smith Center in March, offered a performance that was dynamic yet typical: a bit of this, some of that, with a reverberating conclusion.

The evening opened with Leonard Bernstein’s winsome and lively “Three Dance Episodes from ‘On the Town.’ ” Some may debate its classical nature, but no one could question the romance and joy. The orchestra, under the direction of David Itkin, capably caught poignancy, charm and a bit of unease before a fun, fast-paced conclusion.

Itkin then turned to a different doomed story with Suite No. 2 from Sergei Prokofiev’s “Romeo and Juliet.” Its strident opening section, “The Montagues and the Capulets,” is dark and demanding, unrelenting and easily overpowering. The orchestra did not relent, with full percussion and big tones forcing focus.

Time for a few breaths, then, as more of the suite unfolded, highlighted with an innocent, almost naive portrayal of the young Juliet and silly fun with Friar Laurence. But it was back to generally dismal business for the strings and the rest of the orchestra, as well-portrayed emotions of romance and joy were extinguished with the dramatic but deadly foregone conclusion.

Guest pianist Haochen Zhang, unassuming and slim, took the stage after intermission and soared with Sergei Rachmaninoff’s “Piano Concerto No. 2 in C Minor, Op. 18.”

Zhang folded himself into the keys for the dramatic opening solo. From the first note, he showed he knew just what he was doing, coaxing here, demanding there, a bit of bombast and then an easy calm. Unlike many other solo pianists, he seemed to watch Itkin closely, to blend with and complement the orchestra. Then, suddenly, he was on his own, all focus on the keys and work at hand.

Both orchestra and soloist delivered the lushness and lavishness the third movement requires and enjoyed a vivid conclusion, bringing “bravos” and an almost-instant standing ovation.

As an encore, Zhang was by himself on Robert Schumann’s “Traumerei,” or “The Dreams,” from “Scenes from Childhood.”

The idea of a young person dreaming of what might happen seemed especially appropriate here.