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CONCERT REVIEWS Saturday 12th April 2003ad Australian Chamber Orchestra. Conducted by Elizabeth
Wallfisch. Sydney Opera House. Georg Handel: Concerto
Grosso in A Major. Very characteristic Handel, and as I find Handel's work delightful, I enjoyed it thoroughly. Antonio Vivaldi: Oboe Concerto in A Minor. RV461. Antony Chesterman guested on the Oboe. This is one of the many works that Vivaldi composed for the girl's orphanage, the Pietá. Characteristic Vivaldi, which I enjoyed very much. Henry Purcell: Fantasia On One Note. Z.745. A curious and interesting short work. The "One Note" is Middle C. The Programme Notes state that: "One part plays middle-C throughout". I think it was the two Cellos. What could have been merely a mathematical exercise, is given great charm due to Purcell's talent. Arcangelo Corelli: Concerto
Grosso in D Major. I am no expert on Corelli, but this Concerto Grosso has that sound which I associate with his name. Very good indeed!
Johannes Brahms: String Sextet in G Major. Opus 36. This was was the ring-in, I suppose, although "Baroque To Brahms" was the Concert's name. If I heard this Sextet blind, I would not have known it as Brahms; but then I am not the biggest fan of Brahms, although I would not agree with Tchaikovsky's damning indictment, of the work of the pathologically shy German. Although it has the undeniable Romantic sweep of sound; the underpinning Baroque ideas, which the Programme Notes asked me to search for, did seem present. The composition as a whole, was texturely very complex, but never jarring. This, I suppose, is characteristic of Brahms. It is a very beautiful work! The notes also outlined the personal life of Brahms, with his inhibiting shyness; and how this Sextet was composed to make his inner peace with Agathe von Siebold, with whom he had almost been engaged. They did exchange rings. Final Thought Fragments I have said that the Compositions were of a high order of excellence throughout; but naturally, such an assessment is only possible if the musical playing is also of a high order of excellence throughout! This night the Symphony Hall was ~ 3/4 full in front of the musicians, but only ~ 1/4 full behind them. I, in the Choir to the right, had ample room to stretch out as I sat. This was excellent, as I was seriously tired. My tiredness increased progressively after interval; such that I would have fallen asleep, except that the melodic beauty of the Brahms Sextet lured my mind to a wakefullness, even when I closed my eyes. Making it home later; by ferry; then by bus; then by feet*; was a struggle indeed! [* "by feet", rather than "by foot", as I am in the habit of using both of the appendages at the extremity of my legs, in a co-ordinated manner, when I wish to progress geographically, under my own personal locomotive power.] Saturday 5th April 2003ad "Moscow Radio Symphony
Orchestra" Conducted by Vladimir Fedosayev. Sydney Opera House. Pyotr Ilyich Tchaikovsky - 1812 Overture This Orchestra has a very strong sound. The gentle parts of this work had a touching sorrow, while the loud sections were truly tempestuous. It is the best I have heard this oft played work. Sergie Rachmaninov - Symphonic Dances A work I was unfamiliar with. If Tchaikovsky turned the light-hearted Austrian dance, called the Waltz, into something tragically passionate; then Sergei in the Second Movement of this work has delved even more darkly than Pyotr. In all three Movements, the music oscillates from sorrow to joy, from despair to gentle humour; all in a cloud of remembrance of a Russia he had lost forever. Pyotr Ilyich Tchaikovsky - 4th Symphony I heard Pyotr's 4th Symphony last year, in a superb performance by the Sydney Symphony Orchestra. But tonight's performance was even better! The tempests were even more heightened; while the self-imploding of the inner torment of certain of the quieter moments, was an unclosed deep despair! The second and third Movements had the pause between them competely crushed; while the latter's pizzicato was astonishingly fluid. The final Movement saw, at one crucial point, the strings passed the music to the wind & brass with an exquisite seamlessness. And the final crescendo was an anguished dragon in his death throes. Some Final Thoughts [1] Oddly, the seats behind the Orchestra were at least three quarters full, whilst those in front were only a quarter full. True, it was a minimum cost of $75.00 a seat, but such a superb Orchestra should have been better appreciated by Sydneysiders [2] It seems to take enormous tenacity to play the Timpani in a Russian Orchestra. The Bass Drum, also, seemed liable to be destroyed, it shook so much at times. Yet, at other times, the playing of both was so gentle. [3] Conducter, Vladimir Fedosayev, was so well unfazed by the small audience. He had the Orchestra play two encores, both of which I think, were orchestrations of Russian Folk Songs, but I do not know the name of either. It seems that Vladimir is with the great Georgian Actor, Kaz; whom, at a performance at the Belvoir Street Theatre in the late 1980s, assured the small audience that he would rather enthrall a hundred people, than bore a thousand. Vladimir & the Tchaikovsky Symphony Orchestra Of Moscow Radio certainly did enthrall. [4] If you think that what I wrote above is way over the top, an indulgence in purple prose; well, as you see, I have considered this possibility. Considered it, but rejected it. I must write how this evening's music moved me, as best I can, no matter how poorly or gauche that may transpire when cast into my words. Better to fail and fall in a blizzard of untempered tempest; than to be too fearful, too timidly tepid, to trace what One's Soul has felt. Saturday 29th March 2003ad Sydney Symphony Orchestra Conducted by Edo de Waart. Sydney Opera House. Richard Wagner - Siegried Idyll. This was only about 20 minutes long, & then we had the interval. This is the quickest I can recall an interval. The work, which Wagner wrote for his wife as she recovered from childbirth, is serene. I liked it very much. Richard Wagner - The Valkyrie: Act III. It opened with those well known dramatic strains; the only Wagner with which I am fully familiar. But then those eight black dressed "chorus" Valkyries appeared, directly afore me in my front row seat, whilst behind them were the cellos & double basses. At this short distance, the power of a well trained voice is almost like a shock wave. At the other end of the stage front, appeared the "starring" Valkyries: to wit, Brünnhilde & Sieglinde. Also appearing there was the rather testy God, Wotan. The chorus were impressive. To my mind, Wagner very cleverly scored their "intersecting solos". Bruce Martin, who filled in at short notice for Peteris Eglitis in the role of Wotan, was very good. Elizabeth Connell, who did seem a little portly for a Battle Maiden, sang superbly as Brünnhilde. Margaret Medlyn was exceptional as Sieglinde; and she gained the greatest applause from those in the expensive seats, a few metres behind me. Very noisy in applause they were; with also stamping feet & whooping. But an evening it was not for everyone. As I strained my neck for the occasional glance up to the surtitle screen, high above the stage, I caught out of the corner of my left eye, two couples, separated about four seats from each other. With each pair, the wife was on the left with intense gaze & ears to the stage. The husband was sitting with hands folded across the chest, in a universally understood gesture! One wife occasionally rubbed her husband's arm in consolation. Saturday 22nd March 2003ad Sydney Symphony Orchestra. Conducted by Edo de Waart. Sydney Opera House. Mozart's 31st Symphony - The Paris. A delight, no matter what Wolfgang thought about Parisian audiences. To accomodate their tastes he put dramatic changes from soft to loud & vice versa, into the Symphony. I was in the front row, & from the expression on the violinists' faces, they very much enjoyed playing it. Rachmaninov's Rhaspody On A Theme by Paganini. I have heard this live before. To play the piano for anything by Sergei is difficult, as he wrote piano scores for himself. Olli Mustonen is a superb pianist. He even wipes his brow in complete harmony with the music. Olli also, at times, flutters his fingers before placing them on to the keys; and often a last key is spirally screwed down by a single adroit finger, most often the small finger on his left hand, & this in a beautifully formed movement. The violinists were very impressed by Olli's playing; their faces saying it all. Saint-Saëns' Organ Symphony. It is a shame that Camille gave up the composing of Symphonies after this effort. Over the top it may be, but it is magnificent; especially as we pass into the last half of the second movement, the Pipe Organ thundering dramtically, while the whole Orchestra plays at high volume. Sunday 9th March 2003ad Pekka Kuusisto plays the violin with the body posture of a metal grinder. He is often in an odd, hunched over position, with knees bent & back curled, pushing his head quite low; yet the expression on his face is completely with the music he is playing; and that music has a breathtaking brilliance which quite swept me away! Before booking the concert of this sunday matinee performance, with the Australian Chamber Orchestra at the Sydney Opera House, I had never heard of this Finnish Violinist. The concert was unusual, also, in that only one of the featured composers was dead: Jean Sibelius. Einojuhani Rautavaara, I had of previously, and I have a CD of his work. But Olli Mustonen & Aulis Sallinen were quite new to me. The final work was by the only non-Finnish composer on the programme: the Russian, Rodion Shchedrin. His 1997 composition, "Concerto cantabile" was performed, and it is excellent. I was so taken by Pekka's performance, that I bought 2 CDs at half time; with him playing as part of the ensemble, performing works by Sibelius on one, and by Mustonen on the other. The latter's work is a real discovery for me! He was only born in 1967, and although he is a concert pianist, his compositions on this CD are all for string orchestra. Very beautiful they are too! Saturday 8th March 2003ad Last night was the Sydney Symphony Orchestra at the Sydney Opera House. Friday nights are not easy for me to get out, but I force myself. Vaughan Williams - "Fantasia on a Theme by Thomas Tallis" Astonishing work! The string orchestra here is a normal string orchestra, split in two by a string quartet, with a string octet positioned further back on the stage. The idea is to make the ensemble sound like a pipe organ in a cathedral. The sound was certainly interesting and inspiring. Joseph Canteloube - "Songs of the Auvergne": with soprano, Yvonne Kenny. Wonderful voice. She is a favourite of mine. Edward Elgar - "Enigma Variations". It is good; and some of the variations have a simple earnest grandeur. Saturday 22nd February 2003ad The Australian Brandenburg
Orchestra, Antonio Valente; Diego Ortiz;
Andrea Falconiero; I was there and I loved it! Saturday 25th January 2003ad A programme at the Opera House, which centred on the "Concerto for Group & Orchestra" by Jon Lord. The "Orchestra" was the "Sydney Symphony Orchestra" directed by Simon Kenway; the "Group" was "George", with Jon Lord assisting on Hammond Organ. The performance was good, albeit a bit loud after a full evening's programme, which included as supporting works, various songs by George, a piece by John Adams, and most notably: "Cantus in Memory of Benjamin Britten" by Arvo Pärt. Pärt's work was performed by the Sydney Symphony Orchestra, unassisted by electrical amplification, and is a very moving short piece. Friday 24th January 2003ad Ludwig van Beethoven - 9th Symphony. This was tonight at the Sydney Opera House. Most Excellent!! The Australian Opera & Ballet Orchestra was conducted by Simone Young. The support she received suggests most strongly, that the audience do not approve of her dismissal by the Opera Australia Board, effective at the end of 2003. Sunday 19th January 2003ad The bright note in my weekend was last night. Mozart's "Don
Giovanni". An excellent performance, well received. The audience clearly value conductor, Simone Young, even if the Opera Australia Board regard her as an undesired luxury. A word too, for the excellent performances of Teddy Tahu Rhodes in the title role, and Jonathan Lemalu as his servant, Leporello. Saturday 7th December 2002ad Handel: "Semele". I could in no way miss this. Georg Handel is my favourite Opera Composer. I just love his sense of fun, even in the tragic tale of Semele's death. Mind you, Handel * dwells only briefly on her death, switching swiftly to the Phoenix like birth of Bacchus, her son by Zeus. This performance is "Chamber Opera". So the Orchestra, the Sirius Ensemble, is on the level with the audience, or at least at the bottom of seating slope; while the stage is only raised the sufficient necessary to have the singers clearly visible. Everything is close, which I quickly came to love. Musically it was a wonderful experience! The ensemble [i.e Singers & Musicians] performed with the lust for life, which is quintessentially Georg Handel! I only wish that I could once more experience the sounds & sights, on monday night's final performance. My shins hurt from all that vertical body position for so long. Yet it is but a minor burden, in exchange for an exceptional experience of the senses. [* Addendum 14th December 2002AD: Re-reading this, almost by chance today, I realised that some may complain, that Handel wrote the music, not the libretto. True. But Handel took a libretto that William Congreve wrote some decades before, which he arranged to be updated, probably by Newburgh Hamilton. So I would mantain that Georg Handel was in control. Libretto details from the words of Erin Helyard, in the Pinchgut Opera "Semele" programme.] Friday 6th December 2002ad Tonight was the Sydney Symphony Orchestra. Debussy: Prelude to "The
Afternoon of A Faun". I went through quite some minor trauma to make this Concert. In to town, after work, I purchased the ticket at the Opera House; then back home, arriving after 4pm; finally, after limited rest & barely recovered sore shins, back out to the Opera House! But worth it indeed! This Debussy Prelude suffers more than most to the inevitable coughing. And worse still, the beginning was delayed, whilst conductor, Stéphane Denève waited for a clomping individual with mobile phone ringing loudly, to slowly leave the hall just at that precise moment! At the point of final exit, this creature slammed the door! Still, the work survived with its beautiful languor intact. The Beethoven Violin Concerto, curiously enough, I was unfamiliar with. It is very beautiful; touchingly, tragically so! The violin solo by the German, Viviane Hagner was exquisite. This performance was actually supposed to be Bartok's 2nd Violin Concerto, with soloist, Augustin Dumay. Viviane was called up as replacement at short notice. Fortunate it is, that such a talented violinist had just finished performing in Melbourne; and was generous enough to help out. The Orchestra did very well; and the short rehersal time had no noticeable ill-effect. Tchaikovsky's 4th Symphony. Excellent! Only when the Final Movement came did I find myself on familiar ground. A very moving and at times, tempestuous work. The music ranges remarkably smoothly between quiet introspection & angst-filled clamour. The Third Movement, with the entire strings playing pizzicato for the whole movement, I found especially enthralling. My way home was by Ferry; leisurely crossing the cool, quiet, light-strewn night waters of Sydney Harbour. I found this ambience most appropriate. My only sadness is the difficulty in convincing others, of the value to the soul of such an experience. Saturday 16th November 2002ad Beethoven's "Missa
Solemnis". I knew that the length of this piece would be difficult for me, due to my low blood pressure. Sure enough, only some ten minutes in, my left thigh struck up a pain, which refused to leave during the entire performance. Still, despite this, the music was an exultant experience. As the programme notes suggested, this work is a religious experience, especially created for those, who, like Beethoven, find organised religion unsatisfactory. Friday 15th November 2002ad Mozart. Australian Brandenburg
Orchestra This night was composed of various works, notable for that characteristic cheerfulness that Mozart injects into music. Such good humour spread itself to all. During the Second Movement of the Serenade Number 5, Elizabeth Wallfisch's score fell to the floor. She continued for some bars, then stooped to reclaim it. Meanwhile, the Orchestra continued unbothered, until her lead violin could rejoin. After the Movement ended, she turned to the audience and said: "I must say, the most depressing thing is that they keep going, whether I'm here or not." Saturday 9th November 2002ad Having raced, on a saturday noontime whim, across the Harbour by bus to the Opera House, I was devastated to find that the Sydney Symphony Orchestra's matinee performance, of Beethoven's Triple Concerto & Rachmaninov's 2nd Symphony, was sold out. So, as to not waste the effort, I went up to the Concert Hall & listened to the Concert on the speakers in the foyer. I even bought the programme! Despite the extraneous noises of the caterers cleaning up, as well as that of some errant ill-minded children, I heard the concert well enough! - Certainly, it was well enough for what I had paid. Be that as it may, I would have far more preferred to have been inside. Friday 6th September 2002ad Tonight I was at the Conservatorium. The Tasmanian Symphony Orchestra played Beethoven, Saint-Saëns, Lilburn & Beethoven. Excellent!! Right from the opening bars of the Leonore 3 Overture, when the violins just snapped with precision, it was clearly going to be something special. Sunday 4th August 2002ad I was returning from the Schubertiad at the Goethe Institute in Woollahra. Jane Edwards (Soprano), accompanied by Jeanell Carrigan (piano), performed a Joseph Haydn cantata, four Wolfgang Mozart songs & after interval, ten Franz Schubert songs. Despite being late by some ten minutes, a computer glitch induced faux pas, & also despite some fuzziness of the head, from my having been on my feet without rest for too long, I thoroughly enjoyed it! One really must be in a smallish concert room with a good soprano, to appreciate how powerful is her voice, yet all projected without strain! Sunday 9th June 2002ad Gregory Kinda. Mark the name. This young pianist played today in Sydney, for the Liszt Society, in front of a mere few dozen, in a concert centred on Chopin & Liszt. He is very talented. Friday 8th March 2002ad You cannot play a Beethoven Symphony with too much passion. Brahms is quality schmalz. [Explanation, 20th April 2003 - This is a comment on the Pitzburg Symphony Orchestra Concert. I agreed with a comment I heard during the interval, that "the Sydney Symphony Orchestra did Beethoven better". The Romantic works of the second half of the concert, however, were superbly performed. The Orchestra performed two short well-practiced éncores.] Monday 25th February 2002ad I had to ban myself from the internet on saturday & sunday. With Cyndia Sieden & the Australian Brandenburg Orchestra at [the aptly named] Angel Place on saturday night, followed by Beethoven's "Fidelio" performed by Opera Australia [with Lisa Gasteen] at the Sydney Opera House on sunday afternoon, plus necessary housework, it seemed the only option. p.s. Both performances were excellent! |