American conductor Na'Zir McFadden is recognized for his ability to engage audiences through dynamic and expressive performances that honor tradition while embracing fresh perspectives. At just 25 years old, he has held esteemed positions with the Detroit Symphony Orchestra and Jacksonville Symphony. Career highlights include debuts with the Boston Symphony Orchestra, Dresdner Philharmonie, Baltimore Symphony Orchestra, San Diego Symphony, Nashville Symphony, Utah Symphony Orchestra, North Carolina Symphony, New Mexico Philharmonic, Philadelphia Ballet, Ann Arbor Symphony Orchestra, Kalamazoo Symphony Orchestra, and Civic Orchestra of Chicago.
COPLAND, Fanfare for the Common Man
BEETHOVEN, Leonore Overture No. 3
DEBUSSY arr. Caplet, Clair de Lune
PUCCINI, Act III Intermezzo from Madama Butterfly
TCHAIKOVSKY, March from The Nutcracker
TCHAIKOVSKY, Pas de deux from The Nutcracker
TCHAIKOVSKY, Trepak from The Nutcracker
WILLIAMS, Throne Room & End Title from Star Wars: A New Hope
America in Concert: 250 Years of Music & Majesty
Jacksonville Symphony Orchestra
Jacksonville Symphony Chorus
Chris Blem, vocalist
George Balanchine's The Nutcracker
Na'Zir McFadden's interpretation was consistently songful, dancing, and attuned to the music’s expressive nuances. For exuberance and extroversion, the Praeludium and Rigaudon snapped—concertmaster Nathan Cole’s solos in the latter were spot-on—while the Musette’s hemiolas were shapely and urgent. Meantime, the Sarabande and Air unfolded as models of restraint. Throughout, conductor and string orchestra paid close heed to the suite’s dynamic range. As a result, the Air, particularly, came across with real poignancy, its central maggiore episode shining like a ray of light between the affectingly dissonant turns of its outer thirds.
