Reviewed by John Daly-Peoples
Beethoven 5
Auckland Philharmonia
June 26
Reviewed by John Daly-Peoples
It is rare for a New Zealand orchestra to perform the same concert twice in a week, something which is common with European orchestras and even Australian ones. However, this week the Auckland Philharmonia performed its Beethoven programme on a Wednesday and Thursday, both to sold out audiences.
The orchestra’s “Beethoven 5” concert opened and closed with two very different compositions composed within ten years of each other. The first, Rossini’s Overture to La Cenerentola, composed in 1817 is an effervescent work based on a fairy / folk story while Beethoven’s Symphony No 5 of 1808 is a dramatic work reflecting the composers view of the political climate of the time as well as a growing awareness of his own fate.
Between those two pieces was an elegant display of violin playing by Arabella Steinbacher
The Rossini opened with an engaging display by the woodwinds and brass evolving into a dance-like piece.
The woodwinds held much of this musical adventure together which captures the essence of the opera, its comedy and convoluted storyline.
The Auckland Philharmonia manages to attract some of the world’s great soloists and with the Japanese / German violinist Arabella Steinbacher the audience was treated to a stunning performance of Mozart’s “Violon Concerto No 5”.
She opened the work with some silky playing, slowly revealing the intricacies of the work. At times her playing flowed along with the orchestra while at other times she appeared to add new musical themes to which the orchestra responded.
With the cadenza she showed a skill and insistence which gave the work a very contemporary and adventurous sound.
Throughout the piece she seemed to be perfectly in control of her playing, never trying to outdo the orchestra preferring to let her exquisite, often restrained playing shine. In the second movement some of her playing was almost ethereal while at other times her deft and refined.
In the third movement as the orchestra became more dynamic, she seemed to revel in their playing adding an urgency to her own playing.
Having heard Beethoven’s “Symphony No 5” several times it is still rewarding to hear another orchestral performance. The drama, the nuance, the intensity of the conductor and the players, all add the spectacle. As well as appreciating the music there is also a sense of the composer himself grasping for musical ideas, responding to the momentous events of his times and seeing his own political and spiritual condition connected to those events.
No section of the work is irrelevant or unnecessary, it can can be loud and dramatic with rousing sequences but also gentle, soothing. delicate and sprightly. Beethoven certainly knew how to create drama, mystery and atmosphere.
Apart from the symphony’s well-known dynamic opening and other dramatic sequence the symphony also has superb moments provided by individual instruments such as the clarinet and flutes in the opening minutes or the mass pizzicato of the strings.
Conductor Bellincampi guided the orchestra brilliantly showing his ability to reveal the drama, tension, and revolution within the work. He also highlighted the nuances of the work, emphasising the contrasts and moods of the piece.
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