Elation, euphoria, delight, jubilation, excitement, enjoyment, gladness -- pick any or all of these synonyms to describe the showpiece of the Greater Bridgeport Symphony's opening night of its 64th season last Saturday evening at The Klein.

The same synonyms describe the reaction of pretty much everyone in the audience to the monumental work and performance of Beethoven's Ninth Symphony with its majestic, unforgettable "Ode to Joy." Imagine what happened when more than 65 GBS musicians, four soloists and 130 singers of the combined Mendelssohn Choir of Connecticut and the Fairfield University Chamber Singers scaled the alpine heights of Beethoven's towering score. It prompted one of the most spontaneous, longest and loudest standing ovations in memory. The only surprise was that concertgoers didn't spontaneously break out in an impromptu chorus on the way to their cars to continue this concert named "Ode to Joy." But surely they hummed it all the way home.

Six years in the composing beginning in 1817, this Ninth or Choral Symphony was Beethoven's last, all the more impressive and amazing because by that time, he was deaf and never able to hear his masterpiece.

It was also a symphony with a message, in this case, of universality, the idea being that "all men shall be brothers." Since then, people and countries have unfortunately politicized it to homogenize classes and rally many to activism, or try to turn the religious references into pantheism.

But better yet, the unforgettable "Ode to Joy" melody has come to serve as the musical setting for many well-known hymns including "Joyful, Joyful We Adore Thee" (words by Henry Van Dyke, 1907); "Alleluia, Alleluia!" (words by Christopher Wordsworth, 1862); and "Fill Your Hearts With Joy and Gladness" (words by Timothy Dudley-Smith, 20th century).

Before this absolutely colossal fourth movement, Beethoven turned the symphonic form on its head, shifting the first movements and ending with this revolutionary use of a large chorus and four soloists joining a full orchestra.

To tackle this monumental work, the GBS orchestra was in tiptop shape and performed flawlessly under the commanding and always perceptive direction of Gustav Meier, now in his 38th season with the GBS.

For instance, the strings were right on the money in the first movement's aggressive start. It became all the more stirring when the brasses and percussion joined the fray. The heavy emotion carried right into the second "dance" movement, but this, too, with Beethoven's creativity, turned out a lively, muscular, insistent dance.

The orchestra took full advantage of the third movement's idyllic turn in mood, making the audience feel as though it were floating over meadows and fields in a pastoral of pastel colors.

Of course, the showpiece fourth movement was astounding, rousing and exceptionally uplifting with orchestra, chorus and soloists at full power. There was no surprise Artistic Director Carole Ann Maxwell had the combined choirs in top-notch voice for this most difficult score. Also under Meier's baton, they partnered with the GBS orchestra to reach those magnificent heights.

The GBS and Beethoven's "Ode to Joy" made this not just an opening concert but an event -- a joyous event.

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