The setting alone made a compelling argument. Before a single note was performed, guests mingled in the outdoor courtyard of The Conrad Prebys Performing Arts Center in the heart of La Jolla Village, enjoying wine and cocktails amid artwork displays and festival merchandise. There was a palpable sense of anticipation in the air - not the excitement of spectacle, but the quieter pleasure of a community gathering around culture.
Inside the Baker-Baum Concert Hall, Mainly Mozart founder and CEO Nancy Laturno warmly welcomed attendees before a 13-piece ensemble took the stage. Moments later, Music Director Michael Francis emerged to enthusiastic applause.
Francis has become one of the defining artistic voices in San Diego's cultural landscape. Equally gifted as a conductor, educator and communicator, he possesses the rare ability to make even the most sophisticated classical repertoire feel accessible without ever diminishing its complexity. His pre-performance remarks are never mere lectures; they are invitations into the music.
The evening opened with Aaron Copland's Appalachian Spring in its complete original ballet form, scored for just 13 instruments. Francis explained that the unusual instrumentation was not a reduction but the composer's original conception, written in 1944 for choreographer Martha Graham's ballet and designed specifically to fit into the limited pit space of its premiere production.
The result was revelatory. Many listeners know Appalachian Spring through its later orchestral suite, but hearing the complete ballet in its original chamber form reveals an intimacy often lost in larger performances. The transparency of the scoring allows every instrumental line to breathe. The music feels simultaneously expansive and deeply personal.
Copland's portrait of rural America remains one of the most recognizable works in the American classical canon, yet Saturday's performance reminded the audience why. The work unfolds with an almost cinematic sense of anticipation, moving from moments of quiet reflection to passages of tremendous emotional power. The famous variations on the Shaker hymn "Simple Gifts" emerged not as patriotic nostalgia but as something more profound: a meditation on hope, community and renewal.
The performance was both beautiful and dramatic, demonstrating how a small ensemble can create emotional weight equal to that of a full orchestra when placed in the hands of musicians of this caliber.
The evening opened with Aaron Copland's Appalachian Spring in its complete original ballet form, scored for just 13 instruments. Francis explained that the unusual instrumentation was not a reduction but the composer's original conception, written in 1944 for choreographer Martha Graham's ballet and designed specifically to fit into the limited pit space of its premiere production.
The result was revelatory. Many listeners know Appalachian Spring through its later orchestral suite, but hearing the complete ballet in its original chamber form reveals an intimacy often lost in larger performances. The transparency of the scoring allows every instrumental line to breathe. The music feels simultaneously expansive and deeply personal.
Copland's portrait of rural America remains one of the most recognizable works in the American classical canon, yet Saturday's performance reminded the audience why. The work unfolds with an almost cinematic sense of anticipation, moving from moments of quiet reflection to passages of tremendous emotional power. The famous variations on the Shaker hymn "Simple Gifts" emerged not as patriotic nostalgia but as something more profound: a meditation on hope, community and renewal.
The performance was both beautiful and dramatic, demonstrating how a small ensemble can create emotional weight equal to that of a full orchestra when placed in the hands of musicians of this caliber.
Following intermission, tenor John Russell joined the orchestra for Mozart's rarely performed Bardengesang auf Gibraltar ("O Calpe! Dir donnert's am Fuße"). The brief work occupies an unusual place within Mozart's catalogue, celebrating Britain's defense of Gibraltar during the late eighteenth century.
Francis, displaying his characteristic wit, acknowledged his own British heritage and affection for the piece before Russell delivered a spirited performance. Though short, the work provided a fascinating historical interlude - a reminder that even Mozart occasionally stepped into the realm of politics and patriotism.
The evening culminated with Beethoven's Symphony No. 3 in E-flat Major, the monumental "Eroica." Before raising his baton, Francis recounted one of classical music's most famous stories. Beethoven originally dedicated the symphony to Napoleon Bonaparte, whom he viewed as a champion of Enlightenment ideals. When Napoleon crowned himself Emperor, Beethoven reportedly erupted in anger, declaring: "So he is no more than a common mortal! Now, too, he will tread under foot all the rights of Man... he will become a tyrant."
The dedication was torn away, but the revolutionary spirit remained embedded in the music. It is difficult to overstate the importance of Eroica in the history of Western music. More than any previous symphony, it shattered expectations regarding scale, ambition and emotional depth. Many music historians regard it as the work that ushered in the Romantic era.
Saturday's performance made clear why. From the opening chords, Francis approached the score with a sense of urgency and purpose. His conducting style is endlessly fascinating to watch - precise yet expressive, scholarly yet exuberant. Few conductors communicate joy as visibly as Francis. He seems to experience the music alongside the audience, and that enthusiasm becomes contagious.
The All-Star Orchestra responded in kind. The funeral march possessed genuine gravity without becoming ponderous. The scherzo danced with energy and vitality. The triumphant finale built inexorably toward its exhilarating conclusion.
Throughout the performance, The Conrad itself served as an additional instrument. The Baker-Baum Concert Hall remains one of Southern California's most extraordinary listening environments. Every phrase, every subtle dynamic shift and every orchestral color seemed to emerge with astonishing clarity. The venue's acoustic reputation is so meticulous that ice is prohibited in beverages during performances to prevent unwanted noise. After experiencing a concert in this hall, such attention to detail seems entirely justified.
Francis, displaying his characteristic wit, acknowledged his own British heritage and affection for the piece before Russell delivered a spirited performance. Though short, the work provided a fascinating historical interlude - a reminder that even Mozart occasionally stepped into the realm of politics and patriotism.
The evening culminated with Beethoven's Symphony No. 3 in E-flat Major, the monumental "Eroica." Before raising his baton, Francis recounted one of classical music's most famous stories. Beethoven originally dedicated the symphony to Napoleon Bonaparte, whom he viewed as a champion of Enlightenment ideals. When Napoleon crowned himself Emperor, Beethoven reportedly erupted in anger, declaring: "So he is no more than a common mortal! Now, too, he will tread under foot all the rights of Man... he will become a tyrant."
The dedication was torn away, but the revolutionary spirit remained embedded in the music. It is difficult to overstate the importance of Eroica in the history of Western music. More than any previous symphony, it shattered expectations regarding scale, ambition and emotional depth. Many music historians regard it as the work that ushered in the Romantic era.
Saturday's performance made clear why. From the opening chords, Francis approached the score with a sense of urgency and purpose. His conducting style is endlessly fascinating to watch - precise yet expressive, scholarly yet exuberant. Few conductors communicate joy as visibly as Francis. He seems to experience the music alongside the audience, and that enthusiasm becomes contagious.
The All-Star Orchestra responded in kind. The funeral march possessed genuine gravity without becoming ponderous. The scherzo danced with energy and vitality. The triumphant finale built inexorably toward its exhilarating conclusion.
Throughout the performance, The Conrad itself served as an additional instrument. The Baker-Baum Concert Hall remains one of Southern California's most extraordinary listening environments. Every phrase, every subtle dynamic shift and every orchestral color seemed to emerge with astonishing clarity. The venue's acoustic reputation is so meticulous that ice is prohibited in beverages during performances to prevent unwanted noise. After experiencing a concert in this hall, such attention to detail seems entirely justified.
Yet the evening also served as a reminder that Mainly Mozart's impact extends far beyond a single performance. Since its founding in 1988, the organization has evolved into one of San Diego's most important cultural institutions. In addition to presenting the largest gathering of concertmasters and principal orchestra players in the United States, Mainly Mozart has invested heavily in music education through its Mainly Mozart Youth Orchestra programs, helping cultivate the next generation of musicians and audiences alike.
That commitment may ultimately be its most important contribution. Great orchestras do not sustain themselves. Future artists, patrons and listeners must be inspired and educated. By providing young musicians opportunities to learn, perform and grow alongside world-class professionals, Mainly Mozart is helping ensure that classical music remains a living art form rather than a historical artifact.
On Saturday night, audiences experienced three very different visions of musical greatness: Copland's distinctly American optimism, Mozart's elegance and wit, and Beethoven's revolutionary ambition. Together, they formed a program that was intellectually stimulating, emotionally rewarding and brilliantly performed.
More importantly, they demonstrated exactly why organizations like Mainly Mozart matter. In a region often unfairly characterized as indifferent to the fine arts, Mainly Mozart continues to stand as proof that San Diego not only appreciates great culture, it can help define it.
And under the passionate leadership of Michael Francis and Nancy Laturno, that cultural legacy appears brighter than ever.
That commitment may ultimately be its most important contribution. Great orchestras do not sustain themselves. Future artists, patrons and listeners must be inspired and educated. By providing young musicians opportunities to learn, perform and grow alongside world-class professionals, Mainly Mozart is helping ensure that classical music remains a living art form rather than a historical artifact.
On Saturday night, audiences experienced three very different visions of musical greatness: Copland's distinctly American optimism, Mozart's elegance and wit, and Beethoven's revolutionary ambition. Together, they formed a program that was intellectually stimulating, emotionally rewarding and brilliantly performed.
More importantly, they demonstrated exactly why organizations like Mainly Mozart matter. In a region often unfairly characterized as indifferent to the fine arts, Mainly Mozart continues to stand as proof that San Diego not only appreciates great culture, it can help define it.
And under the passionate leadership of Michael Francis and Nancy Laturno, that cultural legacy appears brighter than ever.
Mainly Mozart All-Star Orchestra runs through June 27 with limited tickets still available. For more information, visit mainlymozart.org/allstar.
Originally published on June 20, 2026.
