Reviewed by John Daly-Peoples
Poem of Ecstasy
New Zealand Symphony Orchestra
Auckland Town Hall
October 27th
Reviewed by John Daly-Peoples
In introducing the NZSO’s Poem of Ecstasy, con doctor Gemma New noted that the concert was filled with work suggesting Joy, Love and Dreams
The five works all showed composers grappling with the often deeply emotional nature of states of euphoria and love. These ranged from the familial “Dance” of Kenneth Young which he sees as reflecting the innocent joy of having a two-year-old daughter through to Ravels huge symphonic “Daphnis et Chloe”, one of the great pastoral romances telling the tale of two foundlings who fall in love at an early age, are kidnapped and separated, but are eventually reunited.
Scriabin’s work “The Poem of Ecstasy” which gave its name to the concert was based on a poem which the composer wrote and was linked to his beliefs in Theosophy where the greatest calling was to escape the physical world and enter a oneness with the cosmos. The work is filled with images of spirits, figures dancing in light, chimera and even monsters. It was a work with symphonic dimensions and clout.
This depiction of a spirit world is reflected in the music. Initially with the sweeping sounds of the woodwinds creating wistful themes followed by huge surges of emotion punctuated by the intrusive voice of the brass.
The work reached a peak at the same time as the lights in the hall blazed red like some passionate monument and the audience were drenched in waves of lush emotion.
The finale of the work saw the light turn bright yellow along with a vibrant spotlight which referenced the final lines of the Scriabin poem.
“Thence the universe resounds
With a joyful cry I AM”
In the central part of the concert the audience was treated to two marvellous soloists – flautist Bridget Douglas and soprano Madeleine Pierard.
The darkened Town Hall saw a spotlit Douglas playing her flute while standing high above the orchestra. The solo work , Debussy’s “Syrinx” was delivered with brilliant technique which provided a warm graceful sound.
Madeleine Pierard sang the Sibelius tone poem “Luonnotor” which was inspired by a Finnish creation myth where a young woman is depicted adrift in the vastness of space.
The work is something of a challenge with the singer having to perform across a wide vocal range.
From the opening, Pierard’s piercing voice seemed to be in a battle with the orchestra which was like a ferocious force whirling around her then at other times she was carried along by the sinuous music. Her voice was complemented by the heavenly harps as her voice soared and then she would be swamped by the orchestra and her singing would take on a desperate edge.
There was an operatic dimension to her dramatic singing and her stage presence conveyed the drama of the young woman buffeted by the forces of nature and the elements.
The major work was Ravels huge symphonic “Daphnis et Chloe”. Like the other works on the programme which were inspired by various forms of ecstatic states, this ballet the piece is focussed on the love between the two protagonists and the music reflects that passionate encounter.
The work opened with the orchestra creating images of Nature, the woodwinds taking on the sounds of an idyll – birds tweeting, leaves rustling and rushing waters.
Much of the music reflected the notion of two characters communicating with each other as divine-like spirits. These emotional interchanges were a mixture of operatic and film music which was always evolving. There were several sequences where Bridget Douglas and the other woodwinds unleashed some romantic themes.
Gemma New led the orchestra with a precision to detail and the sumptuous music provided a sense of an enveloping tenderness and sensuality.
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