Review: Julia Wedman and the SSO Deliver a Fresh and Joyful Celebration of Vivaldi’s Four Seasons

by Scott Roos

photos courtesy of the Saskatoon Symphony Orchestra

(writer's note: we took in this show via the livestream. Thank you SSO!))

Over the last 100 or so years, Baroque music has often carried a reputation for being elegant, refined - and if we're being honest, a little buttoned-up. But in the Saskatoon Symphony Orchestra’s season-opening performance, led by internationally renowned baroque violinist Julia Wedman, any such notions were joyfully swept aside in a concert that was as expressive as it was technically dazzling. Presented both live and via livestream on Saturday, September 13 at Knox United Church, the program marked the 300th anniversary of Antonio Vivaldi’s The Four Seasons, and it was nothing short of spectacular.

Wedman, who grew up in Saskatoon but is currently residing in Toronto, brought her infectious energy and world-class artistry back home for a program that did far more than simply present Vivaldi’s beloved seasonal concertos. Instead, she curated a rich, textured journey through complementary baroque gems by Elisabeth Jacquet de la Guerre, Henry Purcell, and J.S. Bach. The result was a concert that felt as much like a theatrical experience as a musical one.

Right from the opening Ouverture and Passepied from Jacquet de la Guerre’s Céphale et Procris, Wedman set a tone of elegance mixed with flair. These pieces shimmered with clarity, setting the stage for “Summer” from The Four Seasons, which followed in all its fiery, thunderous brilliance. From the very first notes, it was clear: this wasn’t going to be a passive listening experience. Wedman’s playing was electrifying, her bow attacking the strings with precision and purpose. Even more impressive, she did it all while leading the orchestra—often with no more than a nod, a flick of her bow, a smile, or a rhythmic sway.

One of the special joys of watching this performance on the livestream was catching the expressive close-ups of Wedman herself. Her physicality was unmistakable: she didn’t just play Vivaldi—she inhabited it. When the music called for her to portray a drunken reveler in “Autumn,” she played the part with comic charm. When she was meant to embody a sleeping goatherd, she did so with such tenderness you could almost hear the countryside in the silence between the notes (if it wasn't for that damn barking dog! haha!). It was theatre, it was musicianship, and it was utterly delightful.

Enhancing the theatricality even further were spoken interludes from orchestra members, who read translated excerpts from Vivaldi’s original inscriptions that accompany The Four Seasons. This extra context gave the audience a vivid picture of the programmatic intent behind the music - stormy skies, barking dogs, icy winds - and made the familiar concertos feel new again.

The supporting works on the program were expertly chosen and beautifully played. The Suite from The Fairy Queen by Purcell offered courtly charm and lyricism, while Jacquet de la Guerre’s Passacaille added depth and gravitas. Bach’s Vergnügte Ruh brought a spiritual calm, and the closing Sinfonia from the Easter Oratorio, in an arrangement by Alison Mackay, ended the evening on a note of joyful grandeur.

But it was “Spring”—ironically saved for last—that brought the evening full circle, bursting forth with energy, joy, and the unmistakable feeling of rebirth. If this concert was any indication, the Saskatoon Symphony Orchestra’s season is off to an extraordinary start.

This was entertainment of the highest order. Bravo to Julia Wedman, and bravo to the SSO for a concert that celebrated history while bringing it thrillingly to life.