TonicCon Concert: Day 1

It is a pleasant walk to Zipper Hall, where violinist Ray Chen will be performing Vivaldi’s Four Seasons this evening as a part of TonicCon, the practice app’s first in-person event. The Los Angeles sky fades from blue to pink as the fountains lining the walk between the Museum of Modern Art and the Colburn School light up in vibrant shades of red and green. The hall itself furnishes a sense of intimacy, with stripes and waves of wood adding dimension and warmth to the 400-seat space.

The hall is humming in a variety of languages as visitors take their seats. There are parents with children, teens in hoodies and T-shirts, adults in standard concertgoing attire. Baseball caps, velvet jackets, Hawaiian shirts, pigtails, athleisure, and sequins sitting together comfortably. Most eyes are on phone screens as the audience waits. One boy near the front reads a book.

After the distribution of ten Tonic gift bags to randomly selected concertgoers, Chen sails in for a brief introduction before the Colburn School Academy Virtuosi take the stage to perform the Allegro Giocoso, ma non troppo from Josef Suk’s Serenade. A lively, pleasing energy defines the ensemble’s performance as the concertmaster leads the way, section leaders clearly checking in for cues. Their sound is warm and unanimous, the approach playful and lighthearted.

Pianist Julio Elizalde introduces the next portion of the evening: performances by Tonic musicians (three of six—the others would perform the following evening) flown in especially for the event. They’ve evidently been enjoying the relaxed ethos of TonicCon— this is not an audition, Elizalde reminds the audience; this is not a competition. The stage thus set, each of the three performers takes the stage.

First, cellist Luke Walker tackles the prelude to Bach’s Cello Suite No. 6 with energy and resolve. He is followed by pianist Pei Lin Oisin Pu, who performs Brahms’ Rhapsody in B minor, Op. 79, No. 1. He plays with grace and command, a nimble confidence. A boy in the audience bounces along to the music during a jauntier passage (quickly subdued by his attending adult).

Finally, violinist Alexandra Cooreman plays Ravel’s Tzigane, partnered by Elizalde. Cooreman is technically assured and an able storyteller, highlighting moments of playfulness and humor in the dramatic work. She and Elizalde work well together—he plays as though he trusts in her intensity, and it makes for a spirited and engaging performance.

After a brief intermission, Chen takes the stage with the Colburn Chamber Players for Vivaldi’s ubiquitous celebration of the seasons. There is a feeling throughout—not an unwelcome one—that Chen is fronting a kind of classical band this evening. And he seems to be having a good time. He dances and smiles, leans in the direction of whatever player is interacting most closely with his part, broken bow hair flying as he plays with emotion and easy facility, his tone brilliant and sweet.

While his vibe seems lively and casual, the “band” is a bit more serious, following his cues carefully. Chen’s interactions with the principal cellist are downright fun to watch, his expression seeming to dare her to keep up with him, her expression good natured, if ever-so-slightly reproachful, as she does. He rejoices in quick mood changes, jumping from quiet, wistful passages to pyrotechnics with glee, and his abandon seems to inspire the intensity of the chamber players around him. He spent much of his master class earlier in the day encouraging students to “go for it,” and it seems as though this group has also taken that lesson to heart.

The audience is appreciative, clapping unabashedly between movements and enthusiastically in a standing ovation at the end. It was a merry conclusion to the first day of TonicCon.