A packed house eagerly awaited the start of the Brandeis-Wellesley Orchestra's concert Sunday afternoon, a bill that included such perennial favorites as Elgar's "Cello Concerto in E Minor," Rachmaninoff's "Piano Concerto No. 2 in C Minor" and a surprise addition of Tchaikovsky's delightful "Romeo and Juliet Fantasy Overture." Conductor and artist-in-residence Neil Hampton (MUS) entered Slosberg Recital Hall, followed by cello soloist Maya Goldin-Perschbacher '04, shortly after 3 p.m. Hampton led the orchestra with suitable dramatic poise. The orchestra slowly hummed the opening moody strains of Elgar's prevailingly melancholic concerto of 1919. Following the thematic preface of Goldin-Perschbacher's talented cello line, the orchestra entered with a grand crescendo and reassertion of the original theme.

Hampton quietly stopped the orchestra during its original attempt at the adagio moderato movement, gingerly smiling and noting to the audience, "We're going to restart this movement for my own reasons" (the audience assumed a missed cue). What followed was a well-versed aural narrative that ends with a gripping yet pastoral cadence. Elgar's somber, brooding first movement was received with mystery and awe, especially at the almost arctic pizzicato cello passage toward the end of the movement.

The orchestra began Elgar's second allegro molto movement with an anxious flourish and potent intensity. The audience responded appropriately with restless expectation of the slightest change in dynamic or botched note. The orchestra navigated its way through the movement with success, however, eagerly charging into the third, contemplative adagio movement. String-heavy in comparison to some of the more colorful orchestration of adjoining movements, the orchestra lured the audience into a quizzical finale. Elgar's fourth allegro, ma non troppo movement begins with a sprinkling of staccato and frenzied string parts before taking a lamenting downturn to return to the original theme, which, followed by a beautiful variation on this melody, makes a quick departure and ends with an abrupt final cadence.

After the short intermission, the orchestra returned for a reading of the first movement from Rachmaninoff's well-known "Piano Concerto No. 2." Heading the performance was wunderkind first-year Wellesley student, Karen Chan at the piano. She looked a little nervous as she adjusted her bench and awaited the beginning of the piece, but Chan's interpretation was fluent and masterful.

The piece opened with a series of nocturnal, dramatic chords that set up the main theme, evoking the dramatic sweep of a long journey. The theme was notably Russian with a tinge of Arabian influence. The orchestra seemed thoroughly engrossed in the final tumultuous crescendo and brought a flourished touch to the stirring final coda.

The orchestra quickly shuffled following the success of Rachmaninoff before beginning the next short dramatic tour-de-force, Tchaikovsky's "Romeo and Juliet Fantasy Overture." Hampton passionately started the piece with its trademark melody and forbidding ebb and flow of the low-end of the orchestra. The performers nailed the introduction with precision and dynamic intensity.

The orchestra then launched into the intensely striking fight scenario. The dominant and loud dynamics of the performance did justice to the oft-heard struggle between the houses of Capulet and Montague. In fact, so rousing was the performance that Hampton unwittingly flung his baton into the audience in media res.

After the tiring sweep of Tchaikovsky's piece, the orchestra rose to the applause of the awed audience. Hampton and his orchestra left the recital hall, satisfied at yet another successful concert and impressive display of talent.