Philadelphia Orchestra premieres new Valerie Coleman ‘Concerto for Orchestra’ to rave reviews

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Philadelphia Orchestra premieres new Valerie Coleman ‘Concerto for Orchestra’ to rave reviews
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Coleman chose not to face her newfound admirers with a bow from the Carnegie Hall stage, but waved from her aisle seat on the main floor.

NEW YORK — Though heard at Carnegie Hall as long ago as 2004, composer-flutist Valerie Coleman was received like a major new discovery on Friday when the Philadelphia Orchestra unveiled her newin a Debussy/Ravel program that received a rock star audience welcome.

As with the Lawrence paintings, each section of Coleman’s music had its own distinctly crafted color palette, but within that, eloquent, disparate layers of meaning that also give most sections of the orchestra antic animation solo moments with the kind of unfiltered truth that one doesn’t expect in the symphonic medium.

Yet these large Coleman canvases maintained a chamber music feeling in sound, drawing their overall power from details within details. The consistent vitality made the music endlessly engaging — attracting the ear not by being imposing or commanding, but by being inviting. This piece may take listeners years to fully digest, but never do you feel that the music is leaving you behind.

Agree or not with this approach, the performance was consistently and convincingly conceived and viscerally compelling. It was also loud — which is an increasingly heard complaint of Nézet-Séguin’s performances among New York audiences.

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