Trey Anastasio performing with the Los Angeles Philharmonic in 2012. Photo by Dave Vann.No one can accuse the National Symphony Orchestra of not trying to mix things up and try new things. For each of the Kennedy Center‘s international festivals, the Orchestra introduces classical audiences to new works by composers from all of the world.
The NSO Pops, the branch devoted to less traditional music, is doing the same by inviting guest artists whose audience is far from the typical symphonic crowd. Last year, it featured John Legend for a night in tribute to Marvin Gaye. Next year, the ensemble will perform with Nas. Last night, Trey Anastasio played with the NSO Pops, performing classic Phish tracks as well as his own solo material.
For concerts like this, the key to success lies in whether the orchestra and the featured performer can find some middle ground between their respective worlds. When they can’t, either the rock/pop act dominates (think Metallica with the San Francisco Symphony), or it turns into schmaltzy lounge music à la the many experiments-gone-wrong that air regularly on PBS. But starting with the haunting, syncopated melody of the opening number, “First Tube”, it was clear that the team behind yesterday’s performance took great care to avoid such missteps.
Much credit goes to arranger Don Hart, who chose to frame the songs in such a way that focused the attention on Anastasio, but elevated the orchestra to more than just background music. This was especially true of “Guyute,” which began with a subdued, acoustic vibe and then grew to utilize the entire of palette of strings, woodwinds, brass and percussion. Gone were the rock rhythms of a typical Phish show. Instead, those primary colors were replaced with the rich array of hues that only a symphony can provide. Conductor Steven Reineke also deserves notice for drawing that nuance from the ensemble. The arrangements blended perfectly with not only Trey’s distinctive guitar playing, but also with his inviting voice. As the second set closed with “You Enjoy Myself,” it was clear that Anastasia reveled in the experience, choosing to harmonize with the strings, sans microphone.
From a musical standpoint, the evening’s highlight was “Time Turns Elastic,” which opened the second set. The sprawling, 30-minute opus was the closest the program came to the sometimes self-indulgent space jams that we usually associate with Anastasio. In fact, this arrangement showcased his range as a guitarist in that his soloing was particularly tasteful and melodically driven, and his guitar tone was more characteristic of jazz than anything else. The song brought the crowd to its feet, just one of many standing ovations that peppered the concert.
And speaking of the audience, it wasn’t like anything we’ve ever seen at the Kennedy Center. Even at the main steps of the venue while walking in, the characteristic aroma of herbal jazz cigarettes wafted through the air. And to bookend the evening, who would have thought that people would be selling nitrous oxide balloons on the way out of a show at this most “Washington” of venues? In the end, even those of us who aren’t necessarily part of the Phish scene had to appreciate the enthusiasm of an audience who knew all the cues, like when to clap and sing along in “Stash,” or the overly zealous (and way high) young woman in the first row who got herself kicked out of the show. We also couldn’t help but wonder what the orchestra members were thinking. On the one hand, they could have easily been offended. On the other, they probably got more ovations last night than they have this entire season, so maybe they felt like rock stars.
