Drama of biblical tale elevates music of ‘King David’

By Kristen Peterson

Friday, May 9, 2008 | 2 a.m.

Nothing is quite so epic, dramatic and violent as a biblical tale. Bad decisions, unscrupulous behavior and tests of faith and loyalty are boldly defined in each character and his or her actions.

Add a little music and whoa ...

That’s what Rene Morax was thinking back in 1921 when he asked Swiss-born composer Arthur Honegger to write incidental music for his play based on the life of King David of Israel.

The score, written in two months, was so fabulous and well-received that Honneger later wrote a concert version that included a full orchestra.

On Saturday the Las Vegas Philharmonic will present Honneger’s “King David” featuring mezzo soprano Lynnette Chambers, tenor Mark Thomsen, soprano Athena Mertes, Gloria Hoffmann as the witch of Endor and the Las Vegas Master Singers. Actor David Carradine will narrate.

Anyone thinking it’s going to be all about David slaying Goliath might want to revisit Scripture (or just see the performance). The Goliath bit is less than three minutes of the performance, as it should be. A shepherd tending his flocks, David has a storied rise to power. He is approached directly by the prophet Samuel to succeed the controversial Saul as king of Israel, finds himself caught up in a battle with the Philistines, specifically with Goliath, whom he slays, gaining him a place in the court and immense popularity, escapes several attempts on his life and is always on the run from Saul. He finally takes the throne, marries several women, transports the ark of the covenant from Cariathiarim to Jerusalem, and is responsible for the deaths of tens of thousands by pestilence because he has sinned, but eventually he repents.

“It’s narrative and very dramatic,” says David Itkin, the philharmonic’s artistic director. “The music is gorgeous. The sonic quality in ‘King David’ is unique. It’s not like any other piece people have heard because it’s theater music and he’s writing to be very dramatic. There are moments where you would definitely say he’s influencing what would eventually be movie composition.”

The fact that the performance is so close to the 60th anniversary of Israel’s independence was merely a “lucky coincidence,” Itkin says. “We are going to do a special concert for Israeli independence in the early part of next season.”

So why “King David” now?

Itkin says he wanted something unique for his first season, a season piled with strong performances that prove the Las Vegas Philharmonic made a great choice in selecting him as its artistic director.

Itkin signed a three-year contract with the Philharmonic last year. He and his wife and daughter had planned to make Las Vegas their home, but instead Itkin bought a home in Dallas; last month he was appointed director of orchestral studies at the University of North Texas in nearby Denton. He will phase out his duties with the Arkansas Symphony Orchestra, where he is in his 15th year as conductor, but will continue to serve as music director for the Abilene (Texas) Philharmonic Orchestra and the Las Vegas Philharmonic.