Read Jetsetters Magazine at www.jetsettersmagazine.com To read this entire feature FREE with photos cut and paste this link: http://www.jetsettersmagazine.com/archive/jetezine/classic/vegas/mexico/mexico.html It's already on many of radio stations, you might say. Well, not like this.

The National Symphony Orchestra of Mexico (Orquesta Sinfonica Nacional de Mexico) has been playing classical music from that country and many others since 1928, and Las Vegas was fortunate enough to have a visit from them on their latest U.S. tour. My date and I walked in without checking to see what they would be playing this night. We opened our programs and found...

COPLAND!

My favorite. 'El Salon Mexico' was written by a young Aaron Copland after a visit to that country in 1932 and named after a famous Mexico City dance hall. This terrific overture-length piece reflects spirit Copland felt there: it sways romantically, stomps playfully, and even seems to prance grandly about (though men there might never admit to prancing). I was surprised at sedate pace at which some parts of it were played. It was as if revelers were tired and needed a rest between dances.

Speaking of needing a rest, Enrique Arturo Diemecke has been conductor and music director of this orchestra and that of Flint, Michigan since 1990 and of Long Beach Symphony since 2001. (And you thought your commute was rough.) The program describes him as "a popular guest conductor." No kidding! Take every classical music organization that ever existed, add three, and that's how many groups for whom Maestro Diemecke has guest-conducted, it would seem from his bio. Doesn't word "siesta" come from Mexico?

Diemecke was nominated in 2002 for a Latin Grammy for "Best Classical Album," and his version of 'La Coronela', by Silvestre Revueltas, is considered one of best ever recorded. However, this orchestra, like most, plays a broad range of music. 'La Coronela' would be played tonight, but next on program was Symphonic Dances from "Westside Story," by Leonard Bernstein. Because I have never seen this musical, I speak from wonderful purity of total ignorance. What a fun piece! The 'Prologue', 'Meeting Scene', and 'Cool, Fugue' movements had a swinging, jazzy sound and an air of both mystery and mischief that reminded me of Pink Panther cartoon character in a zoot suit.

Read Jetsetters Magazine at www.jetsettersmagazine.com To read this entire feature FREE with photos cut and paste this link: http://www.jetsettersmagazine.com/archive/jetezine/classic/sfo/messiah/messiah.html

At a time of year when nearly every merchant is pushing their wares on American public in grand spectacle of Christmas, it's difficult to find an oasis of sanity - a place where meaning of holiday hasn't been shoved aside in favor of bell ringing Santas, rehashed Muzak versions of tired carols, and grouchy, harried shoppers all trying to rush through their days.

But such an oasis can be found in music of San Francisco Symphony's version of Handel's Messiah, performed this year at Flint Center on campus of DeAnza College in Cupertino, California, about an hour south of San Francisco. Once we entered hall, we felt world of craziness drift away.

Previous performances of Messiah that I've heard have been high volume events with sopranos in rafters and choruses blowing out back doors. I was pleased to see that conductor Christopher Seaman had chosen a more reverent and controlled version of this widely interpreted piece.

Handel wrote Messiah during years of 1741-45, and performed it first to an indifferent London reception. The piece was revived, however, in 1749, and Handel continued to revise piece significantly throughout rest of his life. He lengthened, shortened, and removed many sections, and rewrote portions to match voices of local singers. After Handel's death in 1759, many composers have rewritten score to suit tastes of time; some of most famous revisions are Mozart's (1789) and Ebenezer Proust's (1902).