Month: October 2014

Illuminating the Bard – sonnets for a 450th birthday

Posted on by Frances Robinson

Sonnet Lumiere – light on Shakespeare, man of mystery

Jane Oakshott and Richard Rastall
of Trio Literati

Soprano Pepe Becker
Lutenist Don King

Wellington Cathedral of St. Paul, Lady Chapel

Sunday 12th October 2014

This performance was a celebration of Shakespeare’s sonnets on the 450th anniversary of his birth. By happy chance the two actors were in New Zealand during the 50th anniversary celebrations of Wellington’s Cathedral of St. Paul, and as part of those, they had devised a programme to “perform from Shakespeare’s sonnets and other works with sidelights on his mysterious life, some original pronunciation and a few surprises”. There were 16 sonnets in all, grouped according to The Arts, The Seasons of Life and Love, Beauty, and Love.

These brackets were punctuated with extracts from A Midsummer Night’s Dream, The Tempest, The Merchant of Venice, Richard II, and Hamlet and interspersed with some favourite songs and lute music that lent a most appropriate Elizabethan flavour to the hour. The choice of venue was just perfect for this scale of performance, with the exquisite Gothic timber structure of  diocesan architect Frederick de Jersey Clere (1856-1952) providing a most sympathetic ambience. Coupled with Ray Henwood’s quite wonderful one-man Shakespeare programme in the Lady Chapel in August, Wellington has been extraordinarily fortunate in recent offerings from the Bard.

The sonnets and extracts from Shakespeare’s plays were given a most dramatic and engaging delivery, using just a few key props to enhance them. These two experienced actors had judged the scale and acoustics of the chapel with consummate skill, drawing the audience into an intimate yet vivid experience of each piece. Likewise the lute projected warmly and clearly into the space, with a clean crisp delivery underpinned by a truly sympathetic musicianship.

Pepe Becker’s stylistic idioms were entirely appropriate, and her love of this Elizabethan music very apparent,  but her voice could be almost too penetrating at times. No doubt most listeners would have been familiar with the words of the well known songs selected, but the diction was sometimes a struggle to discern. That said, the duo with Don King proved a most rewarding contribution to the programme.

The first musical item was a lute setting of the anonymous air Greensleeves, which was gently and beautifully played by Don King, and served to establish the whole performance very firmly in its time. The next was a duo setting by Robert Johnson (c1583-1633) of Ariel’s song Full Fathom Five from The Tempest. The duo drew us deftly into the world of a composer and lutenist  of the late Tudor and early Jacobean eras, who worked with Shakespeare and provided music for some of his later plays.

There followed an anonymous setting of the Willow Song that set the scene for the gravediggers’ discussion about “Is she to be buried in Christian burial?” from Hamlet. The actors’ humble rustic accents sat wonderfully with their undisguised distaste for the  ecclesiastical privileges enjoyed by the nobility.

Three sonnets on Beauty followed, then one of the “surprises” billed in the programme. It was Carol Ann Duffy’s poem, in sonnet form, about something that has long puzzled many people – Shakespeare’s bequest of his second best bed to his wife Anne Hathaway. It is such a gem, that I must include it here in full:

Anne Hathaway

by Carol Ann Duffy from The World’s Wife (1999)

‘Item I gyve unto my wife my second best bed …’
(from Shakespeare’s will)

The bed we loved in was a spinning world
of forests, castles, torchlight, clifftops, seas
where we would dive for pearls. My lover’s words
were shooting stars which fell to earth as kisses
on these lips; my body now a softer rhyme
to his, now echo, assonance; his touch
a verb dancing in the centre of a noun.
Some nights, I dreamed he’d written me, the bed
a page beneath his writer’s hands. Romance
and drama played by touch, by scent, by taste.
In the other bed, the best, our guests dozed on,
dribbling their prose. My living laughing love –
I hold him in the casket of my widow’s head
as he held me upon that next best bed.

The next songs were Where the bee sucks, again set by Robert Johnson, and Thomas Morley’s O mistress mine, both bracketed with six sonnets on Love. Again the lute and voice gave a faithful delivery of these lovely numbers to round off the duo contribution.

Don King’s final item was a lute setting of Will Kemp’s Jig in which he very aptly set the scene for the Envoi “If we shadows have offended” from A Midsummer Night’s Dream. These rounded out a quite delightful hour of wit, sorrow, song, verse and prose, put together in a most rewarding marriage of music and drama. The Lady Chapel was virtually full, and I’d wager that all headed home with that indefinable glow that is the gift of true artistry.

 

 

 

NZ Opera’s “Don Giovanni” in Wellington enthralling

Posted on by Rosemary Collier

New Zealand Opera presents:
Mozart: Don Giovanni

Cast:
Don Giovanni: Mark Stone, Leporello: Warwick Fyfe, Donna Elvira: Anna Leese
Donna Anna: Lisa Harper-Brown, Don Ottavio: Jaewoo Kim, Commendatore: Jud Arthur
Masetto: Robert Tucker, Zerlina: Amelia Berry

Chapman Tripp Opera Chorus, Orchestra Wellington,
Conductor: Wyn Davies,

Director: Sara Brodie

St. James Theatre

Saturday, 11 October 2014

 

Much has been written about what is probably the world’s most continuously
successful opera: Mozart’s Don Giovanni. That it continues to draw in the crowds despite the misgivings of various ‘experts’ over the years is tribute not only to the variety and virtuosity of the music, but also to the characterisation in Lorenzo da Ponte’s sometimes denigrated libretto.

This opera is notable for many things; the complexity of the vocal writing is certainly one of them. Another is the complexity of the plot. All the characters contrive to find themselves in bad situations from which they manage to escape, just in time. Except for Don Giovanni at the end; his final come-uppance was delivered in this version with a dramatic twist that was in accord with the contemporary production.

There were numbers of features in Wyn Davies’s conducting, Sara Brodie’s production and John Verryt’s sets that made this production of Mozart’s great opera stand out from others one has seen. In no particular order, features were: plenty of fast-paced action and music, the use of the revolving stage making for quick changes of the sets, the 21st century setting, the contemporary English of the surtitles (e.g. ‘creep’ to describe the Don), and the uniformly high standard of the lead characters’ singing and acting.

Setting the story amongst shabby ‘low life’ gathering places rather than in palazzos and piazzas was a surprise. The Hotel Commendatore, and the Hotel Ottavio, plus the Libertino’s ‘Nite Club’ allowed for much comic business, particularly the latter venue. The use of cellphones, tablet, and a modern Red Cross-style rescue team were ‘verismo’ features, 2000s-style.

These were hardly incongruities in terms of the setting; what was incongruous was having the cast doing contemporary formless slow jogging about to Mozart’s delicious music designed for quite different dances; this left me feeling disappointed and deprived – though it is hard to know what else could be done, given the contemporary setting. The pole-dancers in the background were no more or less incongruous.

The well-produced programme featured not one, not two, but three excellent essays, by John Drummond, Nicholas Reid and John Pattinson. Another commendable feature of this production was that apart from two very fine singers from overseas (Mark Stone from UK and Warwick Fyfe from Australia), the principals were all New Zealanders.

Those tremendous, portentous opening chords from the orchestra set the scene for a dramatic evening of opera. From the overture onwards, the orchestra played with great verve and panache, always ‘on the ball’, every instrument making a marked contribution to the whole.

The curtains opened on a dark set revealing the night club, a homeless man endeavouring to bed down in its vicinity (this on the day following World Homeless Day), and the brusque treatment he received – these all came to mean something in the ensuing drama.

The first character to reveal himself is Leporello, with Warwick Fyfe in fine voice, and with much nuance in his acting. Under Sara Brodie’s direction he was not so much of a buffoon as in some productions. His ‘Catalogue Aria’ in Act I was brilliantly performed. The catalogue was held on his cellphone, which he manipulated with sweeping gestures (a little impractical, I would have thought, to have a document with 2065 entries, on a tiny device!). Only in the final scene, his contribution could not be clearly heard.

The appearance of the Don introduced us to the splendid singing of Mark Stone. These demanding roles were well under the belts of the two gentlemen; Mark Stone was very much the persuasive seducer, his voice ready for the variety of timbres demanded by the different aspects of his character portrayed in the company of his would-be conquests, of his denouncers and of his servant. His big arias were sung with lots of swagger where appropriate, and sure vocal technique – masterful. The delightful Canzonetta with mandolin, ‘Deh vieni alla finestra’ was ingratiating and sung with great variation and subtlety in the voice.

Lisa Harper-Brown’s Donna Anna was at first rather overwhelmed by the orchestra, from where I sat. Her voice was at times rather shrill; I agree with William Dart’s comment in his New Zealand Herald review that she ‘showed some vocal straining’; words were not clear and her acting was stiff much of the time. This could be taken as characterisation of a woman whose father had just been murdered, but I wasn’t persuaded. I found her costume rather unbecoming for a tall woman. However, her final recitative and aria ‘Crudele…’ sung to Don Ottavio was very richly rendered.

Anna Leese’s Donna Elvira was wonderful – relaxed, her voice and words always clear, her acting natural and effective, she fulfilled the role superbly. Her entire portrayal was very strong and dramatic, commanding in both acting and singing, and her final aria was fabulous. As the Commendatore (a role he also played in Wellington City Opera’s 1987 production) Jud Arthur has the right bearing, and certainly the right voice: a deep, resonant bass, which he uses superbly well.

Don Ottavio (Jaewoo Kim) is criticised for being wooden, or not an adequate character, or other such phrases. However, he is written as rather a ‘wet’, and his apparently unsympathetic attitude probably stems from the fact that as a nobleman he could not believe that another nobleman would perpetrate such an act as murder. Kim has a lovely voice, and I did not find him inadequate, given the character he was portraying. He and Lisa Harper-Brown evoked the shocked, grieving couple very well. His ‘Il mio tesoro’ was a pleasure to hear.

Amelia Berry (Zerlina) had a few rather uncertain notes early on, but she soon settled down, and revealed not only splendid tone with a variety of timbre, but also her acting and characterisation were uniformly very good; she was really ‘in’ the role. Her singing blossomed, not the least when she produced a magical high C at one point. Her ‘Batti, batti’ was ingratiatingly lovely. Robert Tucker’s Massetto was a rather sturdy, stodgy character, but given to some fine acting and singing, though his voice was not always strong.

Of the many familiar arias in the opera, the singers gave great account, on the whole.I found the Don’s ‘Là ci darem la mano’ a little too slick. Maybe this was to depict his nature (and experience!), but would it persuade a young woman?

As if Mozart did not produce wonderful orchestral sounds and textures, superb solos and telling recitatives, where he excels in this opera is in the ensembles. The first quartet was just splendid, with the variety of emotions between the characters portrayed with sensitivity and skill by the singers. The trio early in Act II was another gorgeous ensemble; there were particularly lovely nuances in Anna Leese’s singing. The sextet in the middle of the Act was wonderfully well done, the drama conveyed through each part; the brilliance of Mozart’s writing here is quite breathtaking.

Summing up, it must said the production made less of the comic and more of the dark, even gothic and tragic in the story than do some productions. There was lots of loud and not a great deal of soft. However, characters were brilliantly portrayed, while the action and stage business kept things interesting. The chorus, like the orchestra, were uniformly first-class, and had plenty of stage business and acting, always carried out convincingly. All involved deserve hearty congratulations.

Among the many notable production touches were the scaffold beside the Hotel Ottavio, that enabled the Don to climb close to Donna Elvira’s window; the sight of the maid through the window as she went through Elvira’s bag, finally removing money.

The nice connection between the homeless man and the Commendatore should not be given away in a review, nor should the dramatic stunt that despatches the Don. The ending sextet was a commendable conclusion, following which the audience erupted in enthusiastic response, thoroughly deserved. We were privileged to attend such an enthralling, high quality production of Mozart’s great work.

Further performances are on 16 and 18 October at 7.30pm.

Orchestral spectaculars from the NZSO – and a 2015 sneak-preview

Posted on by Peter Mechen

The New Zealand Symphony Orchestra presents:

JANÁČEK – Sinfonietta
BRETT DEAN – Trumpet Concerto
MUSORGSKY (orch. Ravel) – Pictures at an Exhibition

Håkan Hardenberger (trumpet)
Dima Slobodeniouk (conductor)
New Zealand Symphony Orchestra

Michael Fowler Wellington

Friday 10th October, 2014

I thought it happy and appropriate that the second half of the NZSO “Bold Worlds” Wellington concert on Friday of last week was prefaced by several of the principal players telling us something about the 2015 orchestral season (details of which had just been released), and specifically what each of them was particularly looking forward to taking part in.

So we were able to hear concertmaster Vesa-Matti Leppänen telling us about the various 2015 concerts involving violinists, including reappearances by Hilary Hahn, Baiba Skride and Anthony Marwood, plus a concert featuring the first appearance of Janine Jansen with the orchestra. Vesa-Matti also talked about Sibelius’s Four Legends, conducted, naturally, by Pietari Inkinen – and mentioned that he would also, at some stage, be revisiting Vaughan Williams’ “The Lark Ascending”.

Principal flute Bridget Douglas then took over, expressing her delight at having played all the Beethoven Symphonies, and at the prospect of taking part, with pianist Freddy Kempf, in performances of all five piano concertos next year. She told us about us about her scheduled performance of the Ibert Flute Concerto with the 2015 National Youth Orchestra, along with a new work by the orchestra’s composer-in-residence, Salina Fisher. She also mentioned the return of Russian conductor Vasily Petrenko, with the Mahler Fifth Symphony, as another highlight.

Then it was the turn of Principal Trombone Dave Bremner to wax enthusiastic about his favourites from the coming season, naturally enough focusing upon his eagerly-awaited partnership with the world-famous trombone virtuoso Christian Lindberg, the latter conducting Jan Sandström’s Double Trombone Concerto “Echoes of Eternity”, Bremner citing the exercise as “proof that men CAN multi-task”, then afterwards drawing our attention to the orchestra’s centenary tribute to the work of Douglas Lilburn, via his Second Symphony.

Having suitably whetted our appetites for the coming season the players returned to their places to await the arrival of guest conductor Dima Slobodeniouk. How fitting it was that, having told us about some of the orchestral highlights of the coming year, the players then pulled out all of the orchestral stops in giving us terrific performances of two favourite orchestral showpieces and a spectacular new concerto for trumpet and orchestra, the latter with one of the world’s great soloists, Håkan Hardenberger!

First on the  evening’s program was Leos Janáček’s grandly festive and excitingly virtuosic Sinfonietta, a work that’s as exciting to watch being performed as to hear, thanks to the writing for brass choir which begins and ends the music, and which is often delivered by players placed either antiphonally or (as here) in a group separated from the remainder of the orchestra. Janáček began writing music for a gymnastics festival at Brno, in his native Moravia, intending to compose a number of fanfares to mark the occasion – but his imagination gradually took charge of the original idea, and he found himself overwhelmed by a mixture of patriotic fervour (the work was dedicated to the Czechoslovak Armed Forces) and parochial feelings (apart from the opening fanfares, each section of the work celebrates a landmark in the town of Brno).

Also informing the music is the composer’s incredible native exuberance, additionally fuelled by his late-in-life infatuation with a married woman, Kamila Stosslova, almost 30 years his junior – many of his important works come from the period of his “idealized” relationship with Kamilla, who was obviously a kind of “Beatrice” to the composer’s “Dante”, an archetypal Muse.

All of this would have gone for very little had the performance by the orchestra, directed by their striking current guest conductor, Dima Slobodeniouk (a name which led me to make wild and inaccurate first-guesses as to his nationality, which was Russian!) faltered or hung fire in any way. Placed in the gallery at the rear of the main orchestra, the brass consort began the work, pinning back our ears with some fantastic playing, bringing out that hint of barbaric splendour which, alas, is sometimes smoothed over in performance. This all took place in tandem with Larry Reese’s thrilling, on-the-spot timpani contributions, the sounds ringing around the proverbial rafters most excitingly and satisfyingly.

The rest of the work brought in the main body of the orchestra, each movement vividly characterized by instrumentation which, in Janáček’s characteristic way, often exploited the extremities of tonal and timbal characteristics of the groups – thus the treble instruments of the orchestra often shrieked and squealed most excitingly, while the lower reaches menacingly loured and rumbled. Performances which don’t bring out this sense of striving to push of the sounds in certain places simply don’t do the composer or his music justice – and thankfully, Dima Slobodeniouk seemed to understand and readily engage Janáček’s particular demons in that respect.

So, in the second movement (The Castle at Brno), the strings joyously chirruped their vigorous figurations over brasses that muttered and rumbled, in between sequences of great lyrical beauty. Similarly demonstrative was the fourth movement (appropriately titled “The Street”) with its festive trumpet-calls, invoking all kinds of responses from the rest of the orchestra, involving gruff, big-boned bass strings dancing heavy-footedly and orchestral bells ringing out almost in alarm at the summons. I liked, too, the boyish “tumble-down” orchestral phrases, winds squawking in roguish pleasure at the unseemliness of it all, energy and laughter paramount.

These two movements were such a marked contrast to the third, middle movement (evocatively called “The Queen’s Monastery”). At the beginning all was melancholy, the tuba mournfully intoning a pedal-note over which the strings and then the winds sang what seemed like a lament, broken only by extraordinary flourishes from the winds in a handful of places – when questioned about these by a worried flute-player, the composer apparently emphasized that the irruptions need to sound “like the wind”. But the most marked contrast came with the music’s middle sequence, the pent-up energies firstly hinted at by the brass, and then, after a brief restatement of the opening by the strings, suddenly unleashed, to the alarm of the strings and the orchestral bells – what larks were here! – riotous goings-on amongst the brasses, with whooping horns, bumptious heavy brass and scintillating trumpets making the most of their “moments”, despite the frightened squawks of the winds!

A gentler, more folksy beginning to the final movement from winds and strings gradually built in strength and tension towards the great moment when the brass at the rear, summonsed by a clarion call and a cymbal crash, rejoined the orchestra with the work’s opening fanfares, this time underpinned by whole-orchestral counterpoints. I confess that I did want the conductor to broaden the music slightly as it drove towards its resplendent final chords, but he chose, just as excitingly, to maintain the momentum until the very final peroration – what a noise, and what an overwhelming effect! Even the somewhat ungrateful acoustic of the MFC was activated, shaken and stirred by all of this, with the players’ efforts and their conductor’s magisterial direction receiving justly-deserved acclaim.

Straight after Janáček’s far-flung ambiences, our ears were freshly-syringed by the opening of Brett Dean’s Trumpet Concerto, an evocation, it seemed, of huge machinery being activated piece-by-piece, begun by woodblocks and metallic scintillations, and building through an enormous crescendo, a cavernous bass line underneath the more superficial figurations suggesting some kind of gigantic ship being launched. Having activated his orchestral forces, the composer introduced the trumpet, played here by Håkan Hardenberger, by repute one of the world’s best on the instrument. He was the “superhero” of the composer’s conception, his music brooking no interference, and very much “in charge” of things until his downfall, delineated by the dying flight aspect of the lines at the movement’s end.

The second movement, given the title “Soliloquy”, presented a more meditative mood, the “draining away” of energy and colour reminding me of some of Salvador Dali’s paintings of melting objects. The trumpet played long lines trying to stem the downward flow, but was itself caught in the torpor of it all – all seemed decay and disillusionment. The trumpeter’s attempts to energize his world – last-ditch attempts at rallying fanfares – seemed to fall on deaf ears, as the orchestral basses take up the chromatic downward figurations. All the soloist seemed to be able to do was salute the passing of things, and wait for some kind of redemptive force to appear.

It came with a muted trumpet call which seemed to awaken a distant response in kind from within the orchestra, one which grew in detail and resonance – rather like the opening of Respighi’s “Appian Way” sequence from “The Pines of Rome” the voices were distant and representing mere possibility at first, remaining muted and disembodied, but with impulse and ambience beginning to mushroom into something. As the interactive dialogue between trumpet and orchestra began to flourish and establish itself, a distant march-like rhythm suddenly began, beautifully “placed” by the composer from with the existing textures. This quickly took on a course of its own, set in opposition to the trumpet and orchestral discourses, the music building up to an incredible climax, most theatrically brought to an unexpected close by a stratospheric note from the trumpet and a dismissive whip-lash phrase played by the solo violin – what an ending!

We need an interval to doubly realign our ears after those two works! – In that respect the “sneak preview” of the 2015 season was doubly welcome, as it helped “close off” what had been before, in preparation for Ravel’s take on Musorgsky’s tribute to the work of one of his dearest friends. It’s a work that’s too well-known to have to comment on each section, here, but the “pictures” and their interspersed “promenades” were again notable for their sharply-etched characterizations, the conductor seeming to me to pay particular attention to the nuancing of the string lines in places, to the point where the textures exhibited all kinds of characterful fibres, enough to remind one of human speech – one of the composer’s obsessions, of course.

My only criticism of the conductor was that he seemed to elongate many of the pauses between the pictures, breaking the continuum of the voyage. Yes, the pictures are self-contained – but Musorgsky himself abruptly “butted-together” pairs of them, sometimes incongruously, as one would experience when disparate pictures in galleries are hung next to one another. The composer also “filled in” some of the pauses between the pictures by the use of “promenades” music derived from the work’s very opening, a melody that changes in mood and feeling in relation to different parts of the gallery. Elsewhere, pictures aren’t linked by anything except silence – and I found the silences in some cases stretched by the conductor so far as to take us away from the experience. A pity, because I found myself having to re-establish myself in the gallery a number of times instead of simply being taken from picture to picture, in what should have been a sequence of unbroken enchantment.

But as for the orchestral playing – well, it was of a vividness and impact that meant that one was very quickly returned and imbued with the pictorial and emotive force of whatever music was being performed – it was the best possible advertisement the orchestra could have devised for its up-and-coming programme next year. And I do hope to encounter both conductor Dima Slobodeniouk and trumpeter Håkan Hardenberger again in concert, before too long. It was wonderful to experience an evening of music-making so distinctive and engaging.

 

 

 

 

 

 

Soloists add distinction to NZSM Orchestra concert

Posted on by Peter Mechen

Te Kōkī NZ School of Music presents:
FROM GENEVA TO KNOXVILLE

BRAHMS – Tragic Overture
TCHAIKOVSKY – Violin Concerto in D
BARBER – Knoxville: Summer of 1915
BARTOK – Dance Suite

Xin (James) Jin (violin)
Amelia Berry (soprano)
New Zealand School of Music Orchestra
Kenneth Young (conductor)
Sacred Heart Cathedral, Hill St., Wellington

Thursday October 2nd, 2014

In the wake of a couple of crackingly good recent concerts given by the NZSM Orchestra and its intrepid conductor, Kenneth Young, I found myself eagerly looking forward to this particular evening’s presentation. The programme followed the orchestra’s policy of mixing the familiar (Brahms, Tchaikovsky) with the less-frequently performed (Barber, Bartok), the repertoire obviously designed to present the student musicians with a wide range of technical and stylistic challenges.

For a number of reasons, it seemed a nicely-balanced choice of items. The documented love-hate relationship between Brahms and Tchaikovsky as personalities gave the concert’s first half an extra frisson of contrasted expression. Then, the excitement and exhilaration of difference continued throughout the second half by a shift of focus twentieth-century-wards, with Barber and Bartok.

The prospect of hearing an exciting young soloist  Xin (James) Jin play a popular work like the Tchaikovsky Violin Concerto would have drawn many people to the concert; and while Samuel Barber’s music (apart from his ubiquitous Adagio) wouldn’t have perhaps quickened pulses in the same way, the presence of ANOTHER soloist (soprano Amelia Berry) would, I’m sure, have been enticing – a singer or instrumentalist performing with an orchestra has a theatricality which is always of interest, in addition to whatever it is they’re performing.

Well, as it turned out, the concert was fabulous in parts – and interestingly enough the “soloist-and-orchestra” sequences stole the show! The concerto got one of the most exciting performances of the solo part I’ve ever heard from Xin Jin, while soprano Amelia Berry’s rendition of Barber’s achingly nostalgic setting of childhood memories “Knoxville: Summer of 1915” touched our hearts in a completely different way.

Neither performance was perfect in all respects – in the concerto, the orchestral support for the soloist was heartwarming in the lyrical passages, but didn’t really ignite in some of the more vigorous “brandy-on-the-breath” parts of the finale. In the Barber work the unfortunately overbearing acoustic of the venue meant that Amelia Berry’s words were often hard to decipher, the very “up-front” tones of the orchestral playing working against vocal clarity, gorgeous though her singing “sounded” throughout.

As for the two other works on the programme, the playing was in places spectacularly fiery, but again, thanks in part to the acoustic, had an uncomfortable “unrelieved” quality – I found the Bartok, in particular, hard going in places for this reason, the orchestral sound too confrontational for comfort, to my ears. A pity that both of this orchestra’s recent concert venues, the Cathedral and St.Andrew’s Church, are simply too “tight” – both acoustically and physically! – to accommodate orchestral performance easily,  and full-on works like the Bartok Dance Suite exacerbated the problem.

The experience reinforced my feelings of frustration and anxiety regarding the present non-availability of the Town Hall for orchestral concerts of this kind. These musicians’ efforts deserve far better than having merely makeshift venues in which to perform, in short, places in which they can be heard to their best advantage, instead of being compromised.

So it was that I found the performances hard to accurately judge in some aspects – for example I found the central section of the Brahms “Tragic” Overture too insistent-sounding, missing that sense of quiet, stricken numbness, an almost spectral tread of growing unease which swings like a pendulum between despair and dignity, and which provides a contrast with the outer parts of the work. I did think that Ken Young pushed it along dangerously quickly as well – the results were certainly tense and knife-edged, but any “inner” reflection of tragedy wasn’t brought out, and the music for me lost some expressive breadth as a result.

The acoustic wasn’t so much of a problem in the Tchaikovsky work, as the composer’s orchestral writing is relatively lean in any case, allowing his soloist’s tones to readily come through – although Young and the orchestra certainly took pains to facilitate this quality throughout most expertly. I thought the first two movements brilliantly successful, the excitement generated by all concerned towards the end of the first movement positively scalp-prickling, and deserving the spontaneous burst of applause at the movement’s end!

We got some beautiful solo playing in the slow movement from both the violinist and the accompanying wind players – but when it came to the last movement, I thought Xin Lin’s astonishingly expressive energies and spontaneous irruptions weren’t sufficiently matched by the orchestra, though I did appreciate Ed Allen’s horn-playing in the “Russian Dance” sections. Somehow the whiplash timing of the orchestral interjections didn’t come off with enough élan, and that cumulative tutti just before the soloist’s final entry unfortunately hung fire – it’s all rhythm and timing, the players needing to throw themselves at the notes and be damned to the consequences! Still, the response of the audience to it all (and particularly to the soloist) was rapturous at the end, and deservedly so.

The Barber work, “Knoxville: Summer of 1915” is something of a concert rarity, here – I know Leontyne Price’s recording, but had never before heard the work live. It’s a setting of passages from author James Agee’s novel “A Death in the Family”, depicting a small boy’s recollection of summer evenings at home with the family. Barber described his work as a “lyrical rhapsody” and dedicated the music to his own father, who was ill at the time the piece was being written. It was premiered in Boston in 1948 by the singer Eleanor Steber.

I caught some beautifully vocalized sequences from the soprano, almost all in the quieter passages – the opening descriptions of people sitting on their porches, rocking gently, the gentle depiction of the night as “one blue dew”, and the very wind-blown Elgarian orchestral passages  during which the singer describes the family spreading quilts and lying under the stars. We clearly heard the heart-rending “May God bless my people”, and, at the return of the lullaby the comforting “Sleep, soft, smiling, draws me to her”.

Throughout the rest I registered the music’s emotions but couldn’t hear what was being sung – Amelia Berry’s voice, sweet and bright as it was, simply couldn’t couldn’t free itself from the orchestral fabric whenever the dynamics increased. We needed those words! – they would have fitted onto a single program page, avoiding any kind of disruptive turn-over – or else they could have been projected onto a screen. It would have increased our enjoyment of the performance hugely, even though the general nostalgic mood of the piece was movingly caught and held by soloist, conductor and players.

Bartok it was, to finish, and it certainly made an impact! The orchestral playing in places was some of the best of the evening – just as well, because when projected outwards with any kind of force it was a pretty unrelenting sound-picture! The first piece had more of a droll aspect, dark, galumphing rhythms alternating with big, blowzy textures, reminiscent of the “drunken peasant” depictions in the same composer’s “Hungarian Sketches”. The infamous second movement, with its laser-beam brass glissandi, nearly lifted the cathedral’s roof, an onslaught relieved only temporarily by the harp in conjunction with strings and winds. I liked the “Hungarian hoe-down” aspect of the third movement, and appreciated the respite afforded our sensibilities by the “molto tranquillo” fourth movement, with its nicely-realised exotic, almost Iberian atmospheres.

But golly! – what a riot of a finale! As I’ve said, it was almost too much in places, though undeniably exciting, the rhythms, textures and colours changing without warning, the overall mood of the piece capricious and volatile. It left us a bit winded, I think, everything in the sound-picture a bit claustrophobic in effect, but still exhilarating, in between gasps! There was no doubting the commitment and skill of the players, spurred on by Ken Young’s boundless energies – perhaps it wasn’t the most elegant finish to a concert, but the sounds were those which stirred the blood most satisfyingly. In all, great stuff from the NZSM Orchestra!