With one foot on the familiar, sturdy dock of 19th Century Romanticism and the other in the precarious boat of innovative and demanding 20th Century Modernism, the Quad City Symphony was able in its March 9 concert to demonstrate diametrically different musical styles without drowning - but not without getting wet.

Without a guest soloist to share the stage and musical load, Music Director and Conductor Mark Russell Smith and the Quad City Symphony showcased two iconic Russian pieces for virtuoso orchestra: Maurice Ravel's orchestration of Modest Mussorgsky's Pictures at an Exhibition and Igor Stravinsky's The Rite of Spring. Either piece by itself would have been considered a featured work, but together they were a grueling concerto for orchestra that required the musicians to perform as though each was a soloist.

Both compositions are musical depictions of works from other artistic disciplines: The Rite (a piece of Modernism first performed in 1913) accompanied an original story ballet, and Pictures (first composed in the late Romantic style period in 1874) described the subjects of paintings by Viktor Hartmann. Both composers used variations in orchestration, tempo, tonality, and melodic texture to differentiate the subject matter or plot of each painting or dance. But the orchestra struggled with the radically different use of these elements, and as a result the contrast between Romanticism and Modernism wasn't always clearly demonstrated in the performance.

It should have been only a sampling - a taste of love, lust, delusions of grandeur, and jocular deception - but the Quad City Symphony on December 1 delivered a fast-paced, funny, and fully satisfying performance of Act III of Guiseppe Verdi's opera Falstaff.

Last season, the Quad City Symphony's Der Rosenkavalier excerpt was plagued by balance problems between the singers and orchestra and by dramatic incoherence - with neither a translation of the German libretto nor an explanation of the plot.

This year, Music Director and Conductor Mark Russell Smith got it right logistically, educationally, and musically. Smith moved the instrumentalists upstage, opening up a large area in front of the orchestra that put the principal singers closer to the audience. The cast members had more room to move and act, sharpening the differences between their characters.

Even though the 30-plus members of Jon Hurty's Quad City Choral Arts sat behind the orchestra, far from the dramatic action, the location made their sound appropriately ethereal when they took on the roles of sprites, nymphs, spirits, and ghostly apparitions.

The changes of staging also improved the balance between the singers and the orchestra. From its upstage position, the orchestra was easily heard yet never overwhelmed the singers.