By Aidan Carney 
(Images above: (L-R) Fernanda Lastra and Avery Gagliano)

Kleinhans Music Hall buzzed with infectious energy this past Saturday evening, May 10, 2025, and for good reason.

The Buffalo Philharmonic Orchestra presented an evening of breathtaking romantic music and started the night with its heartwarming Celebration of Music Education. As a proud Buffalo Philharmonic Orchestra Education Committee member, serving as their collegiate representative, it was a joy to witness the vibrant future of music in our community being honored.

The evening commenced with a palpable sense of anticipation as a packed audience gathered to applaud the bright talents of Western New York. The BPO, in its ongoing commitment to fostering musical excellence, awarded four significant student scholarships.

Further underscoring the region’s collaborative spirit of music education, three awards were presented through a valued partnership with the Erie County Music Educators Association. One was given in conjunction with the Niagara County Music Educators Association. Capping off these accolades was the prestigious Buffalo Philharmonic Leadership in Music Education Award, recognizing outstanding contributions to the field. The enthusiastic and sustained applause for each recipient underscored the community’s deep appreciation for these dedicated individuals and the educators who nurture their passion. You can find more information here if you want to learn more about the winners. 

Following this inspiring prelude, the spotlight turned to the podium, where BPO Assistant Director and Diversity Fellow Fernanda Lastra embarked on a significant milestone: her Classical Series debut. The evening was a culmination of her journey with the orchestra, and she commanded the stage with a program brimming with romantic fervor.

Maestra Lastra launched the musical voyage with Hector Berlioz’s vibrant “Roman Carnival Overture.” Composed in 1843, this exuberant piece draws inspiration from Berlioz’s time in Italy in the early 1830s, a period following his prestigious Prix de Rome win. Interestingly, while the Italian landscape and culture sparked his creative genius for this overture, Berlioz famously held less than enthusiastic views on Italian art and music of the era. Nevertheless, his innovative approach to orchestration and thematic development in works like this helped solidify the tone poem genre’s legitimacy and expressive power. Under Lastra’s baton, the orchestra delivered a spirited and colorful rendition, setting a magnificent tone for the remainder of the concert.

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The program then transitioned to Camille Saint-Saëns’ Piano Concerto No. 5, often subtitled “Egyptian.” While perhaps not as ubiquitously programmed as some of his other beloved piano concertos, this work offers a unique and evocative soundscape, inspired by the composer’s vacation in the Egyptian town of Luxor. Making her debut with the Buffalo Philharmonic Orchestra was the young and immensely talented pianist Avery Gagliano, a recent graduate of the prestigious Curtis Institute of Music in Philadelphia.

From her first notes, Gagliano demonstrated a remarkable maturity and poetic sensibility. She navigated the concerto’s glittering passages and lyrical melodies with an elegant touch and profound musicality. Her articulation was crisp and clear, allowing the intricate figurations, particularly in the more “exotic” sounding movements that evoke the Nubian and Far Eastern influences Saint-Saëns wove into the score, to sparkle.

There was a captivating dialogue between soloist and orchestra, a testament to Gagliano’s sensitive musicianship and Lastra’s attentive energy. Despite this being her first appearance with the BPO, Gagliano played with a poise and technical command that was truly beautiful. The audience’s rapturous response culminated in no fewer than three standing ovations – a true testament to a performance that deeply engaged everyone, average music listener and seasoned critic alike.

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The grand finale of the evening was Felix Mendelssohn’s Symphony No. 4, famously known as the “Italian” Symphony. Before commencing the beloved work, Lastra shared a fascinating anecdote with the audience. She recounted how Mendelssohn, a notorious perfectionist, was so dissatisfied with the symphony after its initial performances that he requested the London Philharmonic withdraw the score from its repertoire. They obliged, and Mendelssohn began revising the work, but died before he could complete his edits to his satisfaction. It wasn’t until some 15 years later, after his edited manuscript was carefully reconstructed, that the symphony was performed again. Drawing a heartfelt parallel, Fernanda Lastra then warmly thanked the audience, emphasizing that much like the enduring appeal of Mendelssohn’s “Italian” Symphony, the Buffalo Philharmonic Orchestra thrives because of the unwavering enthusiasm and support of its community. She noted that without such a dedicated audience, the orchestra couldn’t share these powerful musical experiences.

Under Lastra’s baton, the BPO delivered an “Italian” Symphony performance imbued with infectious joy and vibrant energy. The opening allegro vivace was buoyant and crisp, the strings soaring with precision and warmth. The inner movements were handled with sensitivity and grace, from the gentle melancholy of the andante con moto to the elegant flow of the con moto moderato. The thrilling saltarello finale was a whirlwind of exhilarating energy, perfectly capturing the sunny disposition that Mendelssohn so brilliantly translated into music. Lastra conducted the performance with engaging gestures and an evident passion for the score, drawing out a cohesive and spirited performance from the musicians.

As the final, exuberant notes of the symphony resonated through Kleinhans Music Hall, the audience erupted in a resounding applause, a fitting conclusion to yet another successful and deeply moving night at the Buffalo Philharmonic Orchestra. It was an evening that celebrated musical achievement and promising debuts and reaffirmed the vital connection between an orchestra, its conductor and its devoted audience.

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