Charles Lirette Leonard Slatkin and the PSO rehearse before its concert at the Odeion in Patras Greece.

By Andrew Druckenbrod
Pittsburgh Post-Gazette PATRAS, Greece -- The Karnavali here in winter is one of the world's most spectacular, but last night it was the Pittsburgh Symphony Orchestra that felt a part of a celebration.

	Looking out from the orchestra, you can see the venue's small size -- seating 1,500 but wrapped tightly in a semicircle. Click photo for larger image. Listen in: The PG's Andrew Druckenbrod interviews musicians on the PSO tour: In Porto Rio Hotel's restaurant, PSO violinist Albert Tan, his wife Gail Malcolm and PSO violinist Emma Hancock relax the night before the first concert. During the concert's intermission, U.S. Ambassador to Greece, Charles Ries, and the U.S. Ambassador to Albania, Marcie Ries talk about the significance of having the PSO touring abroad. On the bus back from the first concert on tour, violist Stephanie Tretick talks about the experience of playing in the Patras Roman Odeion. Interactive map See the PSO's 2006 European Tour | View the tour in a popup window Previous coverage PSO on Tour: PSO touches down in Greece to kick off tour (8/25/06) PSO on Tour: European tour connects PSO to new audiences (8/20/06) Symphony conductor to miss Europe tour due to bypass surgery (8/12/06)

In point of fact, the musicians were part of the celebration here. Patras invited the PSO here to help the city honor its being chosen the European Capital of Culture for 2006. The lineup this summer has been impressive, among them comedian/actor Roberto Benigni, tenor Jose Carreras, conductors Mstislav Rostropovich, Sir Neville Marriner and Maxim Shostakovich. Carnegie Mellon University's own Cuarteto Latinoamericano joined in with a concert with guitarist Manuel Barrueco in late July.

But it's the gem of a venue, the Roman Odeion, that really made this concert different in a fun sort of way. Sure, the PSO enjoys playing in the best halls in the world, but its also challenging and exciting to take on the challenges of a unique edifice like this one. Especially when the audience is so receptive.

The Odeion is a completely outdoor venue built in the second century but buried for centuries under tons of earth, so it is in remarkable condition. While there is no roof over the musicians and conductor Leonard Slatkin, the venue's small size -- seating 1,500 but wrapped tightly in a semicircle -- meant that the performance could be easily heard, even if blending was a bit of a casualty.

Actually, the Odeion was terrifically appealing because of how tiny it is -- it is almost a miniature version of the traditional amphitheater. To compare to a venue in Pittsburgh, it is akin to the feeling you get when you step into the small confines of the Point Breeze Frick Art Museum's lavish little auditorium after just having been in Heinz Hall. The orchestra was rather cramped, with some of the sections stretched out along a thrust stage, but it didn't affect the ensemble. Despite the occasional ambient intrusion, such as a church bell or siren, the sound arrived with a special rawness,

And that was a good thing, for the orchestra delivered an exciting performance, especially after it had warmed up (literally, as it was hot on stage) and dealt with the breeze that had been blowing sheet music around. The latter was a boon to the audience -- nothing beats hearing beautiful music outdoors at night with a zephyr flowing by -- but it was an ill wind to the players until clothespins were distributed.

It all came together at the right time, for Brahms Symphony No. 4. Slatkin barely had any time to run over a few spots in a hasty rehearsal, but the performance sounded like a finished product. Bringing out the calm majesty in the first movement, Slatkin cultivated a sinewy attack in the second, bolstered by the brass. The strings had a dark beauty to them, especially when bowing broadly in the lower registers, and the orchestra in general seemed inspired more and more as the piece progressed, and Slatkin delivered spot-on dynamic shifts.

The timbre was such in the Odeion that different, often accompanying passagework emerged more than usual, which made for some enjoyable listening. But this was a stout interpretation buoyed by raw music-making of the sort that comes with little rehearsal and lots of trust.

Violinist Roy Sonne warms up at the Odeion in Patras Greece. Click photo for larger image.

The orchestra also performed Strauss' "Till Eulenspiegel's Merry Pranks" and Bernstein's Symphonic Dances from "West Side Story." But the highlight was the audience's fervent, in-tempo clapping accompanying an encore of Greek folk songs called "Yerakina" arranged by Steven Karidoyanes. It was a perfect end to a celebration of Greek culture in Patras.

The U.S. Ambassadors to Greece and Albania, Charles and Marcie Ries (yes, they are married), attended the concert.

The audience sits on slabs of marble that were added later to the semicircle seating. Thankfully, patrons are given a cushion. The musicians were not as lucky. Since there is no roof and no backstage to speak of, the musicians had to change into their concert dress in makeshift tents.

Well, that's what the women got. The men were just stuck out in the open, in easy view of the street. Things are just a little more relaxed here than in the States.