This was a rare occasion in which Americans had the chance to see an image of Syria that was quite different from the clich s usually cast for Syria by the US media. The audience was enthusiastic and warm, persistent applause forced the orchestra's conductor to play two encores. American musical critics were surprised, reflective, praising, and far from condescending. An encore, Fantasia by a Hungarian composer, Frigyes Hidas, introduced the orchestra's engagingly flamboyant principal clarinetist Kinan Azmeh. World music makes surprising connections .
Intonation gets a little dicey at times, but is generally at firm footing.
The overall tone is a bit edgy but by no means grating. In fact, the orchestra proved capable of applying a poetic sheen to soft passages. And its attention to dynamic detail and articulation was downright impressive . Though occasionally excitable, her playing had a gloss and serenity that took some of the edge off direct involvement. The orchestra, on the other hand, was engrossing, opening with true mystery and hush, then digging deep into the stormy tragedy .