Tag: music

Categories
Reviews, News and Commentary

Mt Eden Chamber Music Festival

Reviewed by John Daly-Peoples

James Jin (violin), Xing Wang (piano) and Dominic Lee (cello)

Mt Eden Chamber Music Festival

Eden Arts

Mt Eden Village Centre Church

September 6 – 8

Reviewed by John Daly-Peoples

Now in its ninth year the Mt Eden Chamber Music Festival organised  by the local community arts group, Eden Arts has presented high quality performances by some of the country’ s leading musical groups and major talent including NZ Trio and NZ Barok.

These concerts have been programmed by Simeon Broom, the Festival’s Artistic Director who is a violinist with the New Zealand Symphony Orchestra  and Cathy Manning of Eden Arts.

Its most recent concert series featured Shostakovich’s Piano Trio No 2, Dvorak’s Piano Concerto No 3, Debussy’s Sonata in G Minor for violin and Piano, Brahms’ Piano Quartet No 3 as well as a concert of works for trombone quartet including pieces by Beethoven, Bruckner, Chaulk, Webern Apon and Seroki.

The four major works on the programme all see composers responding to major crisis in their lives – personal, domestic  and political, using music as a means of self-expression as well as communicating their ideas and emotions.

The Shostakovich Piano Trio and Dvorak Piano Concerto were both played by Xing Wang (piano), James Jin (violin) and Dominic Lee (cello) giving each of the works a very different tone.

The Shostakovich was written in 1944 following on from his Symphony No 7 which was his reaction to the horrors of the Second World War and the Siege of Leningrad and which was his personal expression of his  resistance to fascism.

Some of these same aspects are to be found in the Piano Trio along with reference to his friend Ivan Sollertinsky who had recently died and who is credited with introducing Shostakovich to new music including the work of Mahler.

The opening, chilling tomes of the Lee’s cello  were followed by the lamenting sounds of Jin’s violin and the dignified piano of Wang. The trio became more animated with the anguished conversation between  the strings set against the ruthless tones of the piano. Here the strings seemed to be particularly raw expressing anger and torment.

The second movement began with a slightly more joyful tone with its dance-like melody but this soon became more excited with a harsh pizzicato sequence from the strings, soaring above the pianos more restrained sounds.

There followed a death knell, the cello paying homage to Sollertinsky with a passionate voice.

In the final section Shostakovich used a Jewish melody but the celebratory nature of the work was played as a dirge, full of an increasingly frantic distress.

The undertones of the mournful cello and the tense violin become something  of a metaphor for the lost and abandoned. Here Lee took on an active performance role lifting himself out of his seat in an agitated manner.

There is also a dark and brooding element in Dvorak’s Piano Trio  which may be a reflection of the composer’s grief over the recent death of his mother and the early death of  three of his children.

The group displayed an understanding of the work with its subtle nuances of tone and its dramatic chiaroscuro giving the work  an alternating drama, liveliness and introspection.

 The opening of the work was filled with swirling eddies of sound conjuring up images of landscape  that he evoked in many of his previous works. Here the , the grandeur of the vision expressed a contemplative mood.

The work was full of passage of tight  precision and the trio was able to  express the   passion in music with some delightful passages such as  the springlike opening of the second movement as well as some unexpected inflections and intricate rhythms.

The three instrument  developed and expanded these early melodies creating some languorous vistas  with some of the melodies beautifully expressed  by Lees’s cello which led to an unexpected conclusion.

Much of the playing of the violin and cello took on an elegance  which saw  the two  instruments  interweaving in a conversation which alternated between the formal and the combative.

Simeon Broom (violin), Katherine Austin (piano), James Tennant (cello)Helen Lee (viola)

Debussy wrote the Sonata in G Minor for violin and Piano in 1917 at a time when France was grieving its losses in The Great War and at a time when the composer was aware of his imminent death,

Simeon Broom’s violin soared and floated above Katherine Austin’s piano which went from the dramatic to the lethargic, her intrusions like  a scudding cloud and Broom’s violin explored some rapturous melodies.

The second movement brought some colourful and sprightly dancing  melodies from Broom with some jittery playing from Austin, the instruments vying for innovation and spectacle.

Austin delivered brilliant passages of insistent piano into which Broom inserted a bird-like romanticism and then some  marvellous playing involving double stopping and intricate playing.

For the Brahms Piano Quartet No 3 Austin and Broom were joined with Helen Lee (viola) and James Tennant (cello). The work  is filled with drama, yearning  and reflection as he was close to Robert Schumann and  was shocked by his mentors attempted suicide. But he was also drawn to Schumann’s wife Clara and probably felt conflicted about that relationship.

The work also captures much of his romantic angst which can also be seen in Goethe’s “Young Werther” and the paintings of Caspar Friedrich.

The opening sobbing sounds of the instruments and the plucked sounds of the viola suggesting tears set the scene for the work  with frantic strings morphing into a more contemplative mood.

There were passages where the piano alluded to joyful times as well as distant love. Then the strings erupted is waves of sound suggesting the turbulent life and mind of the young composer. There were also passionate outbursts creating an image of the lonely hero caught in a storm.

Many of the passage see Brahms creating a sense of light and dark, joy and sadness with soulful conversations between the cello and violin as well as a delicate romanticism  carefully outlined by Austins piano.

The work ends with some robust playing as the instruments seemed to spiral out of control with some  dynamic connections between the four players before  moving onto a reflective sequence and terse conclusion.

To subscribe or follow New Zealand Arts Review site – www.nzartsreview.org.

The “Follow button” at the bottom right will appear and clicking on that button  will allow you to follow that blog and all future posts will arrive on your email.

Or go to https://nzartsreview.org/blog/, Scroll down and click “Subscribe”

Categories
Reviews, News and Commentary

APO’s Tristan and Isolde a magnificent musical experience

Reviewed by John Daly-Peoples

Tristan (Simon O’Neill) and Isolde (Ricarda Merbeth) Image – Sav Schulman

Auckland Philharmonia

Richard Wagner

Tristan and Isolde

Auckland Town Hall

August 10

Reviewed by John Daly-Peoples

The Auckland Philharmonia’ s recent production of Tristan and Isolde was probably the highlight of this year’s programme. The opera, lasting over five hours is a marathon for audience, singers and orchestra and requires exceptional singers and players which this performance delivered.

With Tristan and Isolde Wagner began moving opera in a new direction  away from the traditional love story format, using opera to express ideas about the nature of love, sex. death and existence.

While Wagner may have been influenced by Schopenhauer’s ideas about love and the links between love, sex, and death the composer was probably more interested in providing some sort of rational for his infatuation and possible  adulterous  relationship with his patron’s wife – Mathilde Wesedonck.

The opera has a simple plot line – Tristan who had previously killed Isolde’s fiancé is taking her to England to marry King Marke but they become attracted to each other (partly due to having drunk a love potion). The king is told of their relationship and seeks to kill Tristan but who dies from wounds and Isolde expired from a broken heart. They presumably become immortal just as all Wagner’s later gods and enter Valhalla.

The opera really only needs the two main characters as well as  the music but Wagner gives it a narrative structure and a few other characters who provide contrast and  tension.

Johan Reuter as Kurwenal, Simon O’Neill as Tristan, Ricarda Merbeth as Isolde and Katarina Karnéus as Brangäne. Image – Sav Schulman

The music describes the emotions and drama emanating from the two characters with the opening Prelude  and the closing  Liebestad or “love death song” sung divinely by Isolde over Tristan’s body.

The music of the  Prelude was used extensively by Lars van Trier in his film Melancholia expressing something of the same ethos as Tristan and Isolde with ideas about the nature of love, knowledge of our death and the end of civilization.

With Tristan and Isolde the two lovers embody different aspects of love  and this is expressed through their singing and their acting.

Act II which takes place over a single night presents an emotional landscape where we experience their unfolding  relationship with its deep emotional conflicts,

Their   duo “O eternal Night”, touches on a number of aspects of their love and the urgency of their singing  conveys a sense of bliss and transcendence.

O’Neill gave an impressive account of Tristan with potent stage presence enhanced by his stance and gestures. He was able to convey a sense of the nobility of love while  Merbeth’s Isolde expressed  the passion and emotion. With much of her singing her ferocious voice seemed to effortlessly express the conflicting emotions of anger and passion.

This was a semi-staged performance but Frances Moore’s clever staging  gave the performance some added drama with several of the cast making use of the various parts of the Town Hall.

Isolde made her final sensational entrance in walking up the centre aisle of the hall, Andrew Goodwin’s ship’s captain made a dramatic appearance singing from the Circle in Act I  and Katarina Karneus singing an elegant Brangane sang from the Circle, looking down on the couple in Act II.

Albert Dohmen gave a forceful performance as King Marke singing from up by the organ, towering about the orchestra and Jared Holt as Melot, Tristan’s one-time friend turned villain gave a nuanced performance with his long denunciation.

Johan Reuter gave an impressive account as Kurwenal, Tristan’s servant capturing the close ties between the two men with his sympathetic voice.

The orchestra provided the backbone for the opera and under the skilful direction of Giordano Bellincampi  provided sustained emotional and dramatic music, particularly  the opening Prelude which made for a magnificent  musical experience.

Categories
Reviews, News and Commentary

Opera Australia’s “Tosca”

Reviewed by John Daly-Peoples

Tosca. The Te Deum sequence Image. Keith Saunders

Opera Australia

Tosca by Giacomo Puccini

Libretto by Luigi Illica and Giuseppe Giacosa

Sydney Opera House

July 13

Performances until August 16

Reviewed by John Daly-Peoples

Last Saturday’s performance of Tosca at the Sydney Opera House  didn’t go quite as planned. The role of Tosca which had been played by a now ill Giselle Allen  was to be replaced with Natalia Aroyan

Allen’s Tosca had previously been reviewed in Limelight where her performance  was described as “a wonderfully capricious creation; a haughty, self-absorbed prima donna one minute and tragic heroine the next”.

This was to be Aroyan’s first outing in the role but she has had several roles in other Australian Opera productions and has previously even performed with Dame Kiri te Kanawa.

From the first moment we hear Tosca calling her lover’s name from offstage to her bursting onto the stage any concerns about her abilities vanished. She revealed the power and lyricism the role requires immediately. We also heard the notes of the recurring love theme, sometimes calm, at other times agitated, mirroring Tosca’s changing moods. In this opening scene she also revealed other aspects of her complex nature, playfulness egotism, jealousy and romanticism, giving the audience one of the crucial aspects of the opera – a believable character who, she says “lives for art”.

Her voice in Act II traversed a huge range of emotion, – pure love, pain  and yearning while her soaring rendition of the aria“ Vissi d’arte ” captured an almost ethereal dimension.

In a sense she is the alter ego of Puccini who saw the opera a political work which had a strong political thread with a plot that revolved around the historical and political narrative of Italian nationalism. While the opera was originally set in Rome in the early part of the nineteenth century, Director Edward Dick has set the work firmly in the twenty-first century with laptops, CCTV and earpieces. All this provides a very clear reference to the growth of contemporary fascism.

The story , set in Rome still revolves around the tragic love triangle between Floria Tosca , the famous opera singer ; Mario Cavaradossi , a painter ; and Baron Scarpia , the sadistic chief of police .

The opera opens with the escaped revolutionary Angelotti (David Parkin) making a dramatic descent by a rope from the opening in a painted dome in the ceiling of a church. This oculus can be seen as a reference to the ceiling opening of the Patheon in Rome. Cavaradossi comes to his aid and in so doing implicates himself and Tosca in his escape and that knowledge is exploited by  Scarpia in order  to capture the escaped Angelotti, punish Cavaradossi and seduce Tosca.

From the first mention of Scarpia’s name we hear the ominous sequence of three, strident chords that represent the evil character. Sung by Gevorg Hakobyan he emanates ruthlessness and amorality with a sinister voice and the actions of a disturbed man. This is highlighted in the powerful Te Deum sequence at the end of Act I where the power of the state is linked to that of the church and the choir sings along with Scarpia as he fantasises about his seduction of Tosca.

Giselle Allen (Tosca) and Gevorg Hakobyan (Scarpia) Image. Keith Saunders

While Hakobyan conveys a narcissism and cruelty with a searing, caustic voice it is Young Woo Kim singing the role of Cavaradossi who was the standout performer of the opera with a powerful voice with which he conveyed a range of rich emotions along with a very honest portrayal of character.

The set in each of the acts is dominated by a large dome shape with an image of the virgin which works effectively and the oculus in the final act becomes the space from which Tosca plunges to her death.

In Act II the central feature of the set is Scarpia’s four poster bed which becomes the site of seduction as well as acting as a cage within which much of the strugglers between Scarpia and Tosca take place

The work really relies on its wonderful, evocative music, emotionally charged  with some poignant orchestral passages which requires a conductor who is aware of that emotional and dramatic range. In Johannes Fritzsch and the Opera Australia Orchestra all the great qualities of the music were delivered. 

With ten performances to go Tosca is one great reason for a short holiday across to Sydney.

Future operas at the Sydney Opera House

Brett Dean/ Matthew  Jocelyn, Hamlet, July 20 – August 9

Mozart, Cosi van Tutte, August 1 – 17

Categories
Reviews, News and Commentary

Sylvia Jiang’s lively and energetic performance of Prokofiev’s Piano Concerto

Reviewed by John Daly-Peoples

Sylvia Jiang

Auckland Philharmonia Orchestra

Scheherezade

Auckland Town Hall

July 4

Reviewed by John Daly-Peoples

The first half of the APO’s Scheherezade concert featured two works composed a century apart with Melody Eötvös’ “The Saqqara Bird” of 2016 and Prokofiev’s “Piano Concerto No 2 of 1913/1923.”

The highlight of the concert was the Prokofiev Piano Concerto played by Sylvia Jiang. She is a Chinese born New Zealander and Juilliard graduate  who was ranked as a Rising Star in the Asialaw Profiles of 2023.

Last year she performed Liszt’s Second Piano Concerto with the Auckland Philharmonia and later in the year she will also be making her debut national tour as a soloist with Chamber Music New Zealand playing seven concerts.

Prokofiev’s second Piano Concerto is considered to be one of the most difficult piano concertos to play. Thankfully Jiang appears to have not been told that and she never faltered in her exploration of the work even when she was faced  with the massive solo cadenza of the first movement.

This section saw Jiang playing vigorously for over 4 minutes before the orchestra joins in again.

She opened the work delicately creating  gentle, magical sounds along with the woodwinds and strings which hinted at a shimmering watery setting with the orchestra developing the theme and Jiang providing streaks of colour and drama.

This quiet lyricism didn’t last long and was soon interrupted by menacing sounds from the orchestra and a darkness emerged which overpowered the piano which then responded with some ferocious sounds.

This early interaction of orchestra and pianist highlighted the emphasis of the concerto. This was the sense of competition between player and orchestra. With most  concerti there is a collaboration between soloist and orchestra but with this work there was more of an antagonism and intervention.

This is in part due to Prokofiev s music where we hear a clash between romanticism and modernism which is an indication of the composer struggling with his own idea.

In playing the first movement solo cadenza Jiang seemed to be physically attacking the keys and her playing eventually revealed an emerging theme and she was rejoined with the orchestra which enveloped her with the gentler music which had preceded the cadenza.

The short second movement saw Jiang playing  with a  lively energy, butting up against the  savage and insistent tones of the orchestra.

The third movement which opens with huge swells of brass and percussion and a rustic theme where Jiang dashed off flashes bright notes inserting herself into the orchestral themes. Here again the pianist and orchestra were in competition, with the orchestra seeming to overpower Jiang who fought back with a relentless energy finishing the movement with a few quiet  notes of victory.

She opened the fourth movement with a rapid-fire assault on the piano followed by a lethargic sequence where her fingers seemed to wander across the keyboard in search of a theme. Then as she managed to discover the theme the orchestra joined in, expanding and enhancing it.

Her playing at times seemed to be urged on by the energetic orchestra while at other times she seemed to strive against the orchestra.

In the final minutes of the work her playing returned to a simple romanticism before morphing into some frantic playing matched by an equally frenetic orchestra which overpowered the piano before the  final race to the climatic conclusion.

The “Saqqara Bird” refers to a bird/plane shaped relic found at Saqqara in Egypt in the late nineteenth century whose function was unknown. Melody Eötvös’ work explores the imagined reasons behind its creations and purposes and envisages it in search of its identity.

The work opens with the sounds of bird-like twittering from the woodwinds and strings which seem to be emerging from a dark forest of sounds conveyed by the blasts of brass and thumping drums.

Several of the instruments appeared to have been adapted or employed to create eerie sounds as though a backdrop to a fairy tale filled with shadowy beings.

In the middle section the woodwinds replicate  the sounds and movement of birds along with the ghostly forms leading to enigmatic encounters and discoveries.

The intriguing music ranged from sequences of unruly and strident sounds to the use of the simple single note which ends the work.

Categories
Reviews, News and Commentary

The APO’s “Brahms and Bellincampi”

Reviewed by John Daly-Peoples

Alexander Melnikov and Giordano Bellincampi Image. Sav Schulman

Auckland Philharmonia Orchestra

Brahms and Bellincampi

Auckland Town Hall

June 6

Reviewed by John Daly-Peoples

The opening of Brahms’ Piano Concerto No 1 is dramatic with the timpani delivering a tumultuous sound accompanied by ferocious strings. The intense opening  was intended by the composer to be a depiction and reflection on  Robert Schumann’s attempted suicide in leaping into the Rhine at Dusseldorf few years earlier.

For the first few minutes it was the orchestra which dominated  as pianist Alexander Melnikov waited for his entry. Showing what would be his intense approach to playing he seemed  restless as he contemplated the piano – leaning into it and caressing its surface as though communing with the instrument.

Following the stormy performance of the orchestra Melnikov made his entrance, referencing the orchestras’ dramatic themes but with simple and deliberate playing as though reflecting on the drama which had just occurred.

Much of the first movement saw him responding to the themes that the orchestra had explored with a bravura performance where he developed  the main theme, playing with a relentless  insistence.

Melnikov’s relationship with the piano continued, at times he appeared to be praying and at other times conducting. All the time he appeared to physically respond to the performance of the orchestra, his body moving reflectively in time to the music.

In the second movement his playing was almost lethargic inserting some delicate passages into the orchestras brooding sounds. Then in the third movement the music seemed to electrify him with some relentless playing which was  almost  Byronic, of the individual confronting his demons, loves and destiny.

His Brahms encore finished as a cell phone call came through in the hall, so when he was leaving the stage, he put his hand to his ear with the universal sign of “I’ll call you”, eliciting  further applause from the audience.

The other work on the programme was Brahms’s symphony No 2, a glorious pastoral work inspired by a holiday at the resort of Lake Worth in Austria. The work is full of images of nature and the heightened drama of the alpine  environment.

While it is a captivating depiction of the landscape there are  undertones of melancholy with the strings, timpani and brass creating a sense of disquiet.

The more reflective second movement conveys a sense of an emotional  journey and the delights of life. all leading to enlightenment.

Then in the third movement there were charming dance-like seqcnces followed by the dramatic fourth movement with its big crescendos punctuated by idyllic interludes, the audience kept in suspense as the work raced to its fiery conclusion.

To subscribe or follow New Zealand Arts Review site – www.nzartsreview.org.

The “Follow button” at the bottom right will appear and clicking on that button  will allow you to follow that blog and all future posts will arrive on your email.

Or go to https://nzartsreview.org/blog/, Scroll down and click “Subscribe”

Categories
Reviews, News and Commentary

NZ Opera’s Le Comte Ory

Reviewed by John Daly-Peoples

Le Comte Ory (Act I) Image Andi Crown

NZ Opera

Le Comte Ory by Gioachino Antonio Rossini

Kiri Te Kanawa Theatre, Auckland

May 30 & June 1

Reviewed by John Daly-Peoples

If Rossini was still writing operas today his pick for a librettists would have to be Simon Phillips. The original libretto was by Eugene Scribe and Charles Delestre-Poirson, adapted from a comedy they had first written in 1817. While traces of the original can be detected in NZ Opera’s latest version it is Phillips’ new translation, re-write and update which dominates.

This update is what makes the work entertaining and significant. Phillips has taken something of risk in filling the libretto with colloquial speech but it makes for  a clearer understanding of the narrative and his contemporary references give the work an immediacy.

His new libretto avoids having to deal with  the issues of misogyny which are always there in Rossini’s works. It also avoids the contentious issue in the original of having one group of men going off to fight the crusade in Palestine.

Examples of his language updates include someone being referred to as “not a happy camper” “Stuff this for  a caper, I’m buggered” says The Coach after  one adventure, “He really found my chi”  exclaims of one ecstatic young woman  and at the point when Ory is unmasked the entire cast gives a sustained  “What the F…K”

There are lots of rugby references including mention of a John Eales award – this reinforces the idea that Ory’s team is Australian as New Zealand players would not engage in such dastardly undertakings.

The setting for the opera is moved from medieval France to New Zealand, probably the Central Plateau where we find the wives of a rugby team who are off on an international tour staying at a wellness centre in the Chateau Whareora.

Adjacent to the wellness centre is a campsite where Ory and his rugby teammates have set themselves up with the dodgy intentions.

Ory uses this base to  establish himself as a guru / advisor on matters of the heart in an attempt to woo Adele, the sister of the owner of the centre who is away on tour .The team’s personal physiotherapist, Isolier is also in love with Adele and tries to thwart Orys undertakings.

This conflict between pure love and the profane is actually more about a form of selfishness and narcissism which Ory shows in both words and deeds.

The opera revolves around lots of deception, disguises and sexual intrigue where the only character, Count Ory, seems to be in control, yet he is the one who constantly fails ,

Manase Latu as Ory captures the characters inflated sense of self with a bravura performance, parading around the stage in his orange Buddhist robes, behaving like a faith healing tele evangelist.

His voice had the richness of the glib politician / priest with touches of both wit and seriousness, brilliantly captures the suave veneer. In the first act he was great as a Dalai Lama character. Partly his acting, partly the libretto but his character comes over as flawed and despite his belief in his charms and sexual prowess he is never in control of his endeavours.

Emma Pearson as Adele displayed a range of emotional responses with her iridescent voice which at time conveys a sense of rapture.

Hanna Hipp as Isolier played an ambivalent character in taking on  the traditional ‘trouser role’ of female playing male as well as that of a bi-sexual woman in her relationship with Adele. Her duo with Ory was riveting with its mixture of the comic, and sexual friction.

The various duos are performed superbly while the septet at the end of Act I was a great showing off of their voices as they slowly morphed into what sounded like a delightful barbershop singing group.

Andrea Creighton’s Ragonde fulsome voice was a quiet force. Moses Mackay as Raimbaud displayed a fine sense of the comic and Wade Kernot as the Team Manager had a genial style with a nice flexibility of tone.

The sets and costumes by Tracy Grant Lord worked well in defining place and character but some of the costumes worn by the locals in Act I seem to have been borrowed from an amateur production of Oklahoma.

For a little-known opera this production offers originality, riotous performances  with  some of the country’s best voices. The APO conducted by  Brad Cohen brought Rossini’s sparkling music to life, particularly the two overtures.

St James Theatre, Wellington June 13 & 15

Isaac Theatre Royal, Christchurch June 27 & 29

To subscribe or follow New Zealand Arts Review site – www.nzartsreview.org.

The “Follow button” at the bottom right will appear and clicking on that button  will allow you to follow that blog and all future posts will arrive on your email.

Or go to https://nzartsreview.org/blog/, Scroll down and click “Subscribe”

Categories
Reviews, News and Commentary

NZ Opera’s “Le comte Ory” to tour three centres

John Daly-Peoples

Manase Latu as The Count in rehearsal Image: Andi Crown

NZ Opera

Le comte Ory by Gioachino Antonio Rossini

Kiri Te Kanawa Theatre, Auckland May 30 & June 1

St James Theatre, Wellington June 13 & 15

Isaac Theatre Royal, Christchurch June 27 & 29

John Daly-Peoples

Rossini’s penultimate comic opera, Le Comte Ory has many of the qualities of his other operas with great melodies virtuosic singing and an anarchic plot. However it has  generally been overshadowed by his other works such as The Barber of Seville and La Cenerentola and has not attracted contemporary audiences. Recently however it has had a revival and been produced by a number of the international companies including the MET and Garsington Opera.

The gloriously ribald work was first performed in Paris in 1828, when it ran for over 400 performances. Rossini amalgamated some of his previous work  and  vaudeville components were altered and expanded into the two-act comic libretto with six extended musical numbers from his “Il Viaggio” recycled into the new score. At the time it was hailed as one of his wittiest and most seamless and sophisticated works.

The operas tells of  a libidinous aristocrat attempting to seduce the virtuous Countess Adele and other women while their menfolk are away. In his various attempts, he dons outrageous disguises but continues to fail in his amorous endeavours. .

The work was originally set in  medieval France, but this new production of Le comte Ory is relocated to New Zealand, which allows for more local humour.

Director Simon Phillips says “I have always believed that if you want people to laugh, the closer you bring something to a contemporary era, the more chance you’ll have. We can recognise ourselves, and elements of our society in what we’re watching – and it gives the satire more zing. This production felt like a brilliant opportunity to make a new version of this bonkers, madcap rom-com of an opera – unapologetic, irreverent and funny, just as Rossini intended it to be.”

Emma Pearson as Countess Adele in rehearsal Image: Andi Crown

The cast features some great talents including Manase Latu as The Count, Emma Pearson as Countess Adele,  Hannah Hipp as Isolier  as well as Moses Mackay, Wade Kernot, Andrea Creighton and Tayla Alexander.

Categories
Reviews, News and Commentary

NZ Trio’s “Unquiet Dream”

Reviewed by John Daly-Peoples

Amalia Hall, Sarah Watkins and Ashley Brown Image Chris Watson

NZ Trio

Unquiet Dream

Auckland Concert Chamber

May 19

Reviewed by John Daly-Peoples

With their latest concert “Unquiet Dream” the NZ Trio have shown again their ability to deliver concerts featuring music which is innovative as well as drawing on the established canon. This approach shows an intelligent and sophisticated approach to chamber music  which makes their concerts  always rewarding.

The first work on the programme was  Benjamin Britten’s “Introduction and Allegro for Piano Trio”, a very early work in which the young composer  was trying out his approaches to the modernist music which was then beginning to take an interest in.

The work opened with the instruments tentatively seeking out an elusive  melody, playing various sequences which overlapped and intersected as though the composer was assembling his musical structure out of disparate elements.

Many of these sequences were ethereal, touching on the flickering images of water, wind, shadows and scudding clouds. This search for physicality was reflected in the physicality of the playing of the instruments – the blunt striking of the piano and the sharp rasps of the violin and cello.

In Chris Cree Browns  “The Second Triumvirate”  he imagines each of the instruments having its own language  with which they engage in communications  which range from the  simple human conversations  to the more intricate interactions of animal and bird sounds. All these interchanges there are filled dramatic echoes and reverberations.

Lera Auerbach’s  “Trio No2 Triptych” is sub-titled “This mirror has three faces” and she says of the work that “one can look at three different faces or roles of the same person or at three different personalities”.

So, each of the instruments takes on an aspect of the personality which can be in conflict or in harmony with the other. This psychoanalytic approach hints at the idea of multiple personalities or the different faces a person presents – the public, the private or the intimate.

The work is filled with shifting dynamics. Simple sequences develop and change, minimalist statements escalate to create bold and adventurous musical forms.

Shards of music coalesce and then disperse, in surreal juxtaposition, the various elements leaving the image of the person unresolved.

Where  things seem to fall apart in Auerbach’s piece there is a very different outcome with Mendelsohn’s “Piano Trio in D Minor”. With this piece the Trio was focussed on drawing all the elements together to create a symphonic sweep for one of his great “songs without words” providing the work with an emotional richness and depth.

The work hints at the composer’s own desires and struggles using the instruments to create a narrative in which he is by turns heroic, romantic and despondent.  

Throughout the work pianist Sarah Watkins provided the measured mainstay with both a delicacy and vividness of expression. Amalia Hall’s violin  provided a range of emotion from the sensuous to the dramatic and Ashley Brown’s cello ranged from the melancholic to the agitated.

With their playing they were able to capture the romanticism, the wistfulness and the drama of the work as well as effortlessly  incorporating references to  the composers his own Midsummer Night’s Dream and the that of Bach.

Categories
Reviews, News and Commentary

Bach & Bruckner in Contrast

Review by Peter Simpson

David Fray

Bach & Bruckner

Auckland Philharmonia

Auckland Town Hall

May 2

Reviewed by Peter Simpson

The APO’s recent Bach & Bruckner concert was a study in extraordinary contrasts. The Bach pieces: the Harpsichord Concerto No. 5 in F
Minor, BWV 1056 and, Harpsichord Concerto No. 4 in A Major, BWV 1055, date from his Leipzig years, probably around 1740. Bruckner’s unfinished last Symphony No. 9 dates from the 1890s – a 150 year gap between them into which almost all classical and Romantic music falls.


The first contrast was one of scale. For the Bach, a dozen or so stringed instruments clustered around not an antiquated harpsichord, for which the music was written and first performed on, but a shiny black concert grand, looking vast and sleek, like an elephant on the stage surrounded by pygmies.

For the Bruckner after the interval the stage filled up with a crowd of
musicians; I’m not sure exactly how many; my attempts to count them always broke down, but it must have been close to 100, certainly at least 80. In the numerous climaxes – Bruckner’s music often seems composed almost entirely of crescendos and decrescendos – they made the loudest noise I’ve ever heard in a concert hall (at least since Bruce Springsteen’s E-
Streetband drove me out of the Arts Centre in Ottawa fifty years ago); it left me with ringing ears for some time after the finale.

Then there is the matter of time. The concert began at 7.30 with the two Bach concerti. By 8 o’clock, they were all over; all six movements (three for each piece) together with pauses, applause and encore, took less than half an hour (9 minutes 17 second, and 13 minutes, 40 seconds, respectively, according to one recording). By contrast, the Bruckner stretches out to well over an hour in most recordings (Bernard Haitink’s is 67 minutes long), with each of the outer movements taking almost half-an-hour and about 10 minutes for the intervening scherzo.


French soloist, David Fray, born in 1981, has recorded much of Bach’s keyboard music including the concerti. BBC Music described one such recording: ‘Fray’s command of colour and imaginative highlighting is intoxicating, and there is a freshness which makes for indisputably
rewarding listening’. I couldn’t have said it better myself. His playing was as lean and elegant as his person, especially in the lovely melody over pizzicato strings in the slow movement of BWV 1056.


The Bruckner 9th Symphony is sometimes described as a ‘magnificent torso’ of a work, in that it remains uncompleted, the composer having left only sketches of the fourth movement. Even so it seems a shapely structure – I found myself thinking of Gaudi’s Sagrada Familia in Barcelona – with the two vast evenly balanced outer movements joined by the comparatively brief and frenetic scherzo. In my notes I scribbled ‘glorious and sonorous horns suspended over shimmering beds of strings’ and ‘the sensation of bathing in an ocean of sound’.

Replacement conductor Karl-Heinz Steffens, who stood in for the previously advertised Johannes Fritzsch, who was forced to withdraw because of an injury, appeared in total command of music and musicians and had the APO sounding magnificent.

Categories
Reviews, News and Commentary

The NZSO’s Mahler 5

Reviewed by John Daly-Peoples

Gemma New

New Zealand Symphony Orchestra

Mahler 5

Auckland Town Hall

April 6

Reviewed by John Daly-Peoples

The opening work on the Mahler  programme was Salina Fisher’s “Kintsugi” which was originally commissioned  by the NZ trio. This augmented work relates to the Japanese art of repairing broken pottery and dusting the new work with gold.

The music focussed on the gaps in the pottery and the broken fragments of the pieces, highlighting the delicacy of the process as the pieces were slowly assembled.

The music seemed to describe the colours, textures and contours of the bowl or vase with Bridget Douglas’s flute describing curvaceous shapes. The orchestra then picked out the seams of the material bonding the broken shards and the shimmering gold.

While describing the physical changes in the pottery the work with its delicate, brittle sounds acted as a metaphor the ability of humans to mends broken bodies and damaged minds.

The American composer Adam Schoenberg’s Percussion Concerto “Losing Earth” was a dazzling  work inspired the climate catastrophe threatening our natural world with musical images of cities being inundated by rising oceans.

Jacob Nissly Image NZSO/Jono Tucker

The work opened with the sounds of gunshots from drums which were placed around the auditorium. These sporadic salvos, warnings of a present danger were followed by subterranean groaning of the horns which also suggested looming disaster. This was followed by collisions of the strings and horns against the percussion section.

The audiences was then treated  to a remarkable display from Jacob Nissly the soloist who is the San Francisco Symphony’s Principal Percussionist. From  his first appearance at the front  of the hall playing a snare drum he combined the style of a professional percussion player and that of an outlandish rock band drummer.

At his disposal was an array of instruments; drums, gongs marimba, wood blocks and cymbals with which he and the orchestra created the images of an encroaching ocean with the murmuring strings and brass backgrounding Nissly’s s sonic wonderland. This all ended with his making one final display using a spinning Roto Sound cymbal which emitted an eerie sound as the earth-like globe spun to its whispering end.

Where “Losing Earth” addressed a crucial time in the physical nature of our world , Mahler’s Fifth Symphony addressed a crucial time in the composer’s personal world. The work was written at time when he had  a near death experience, his career was blossoming but there many detractors and it was also the time he met future wife.  It is these personal and psychological issues the fears, anxieties and pleasures of his life which form the basis of the work and we were presented with the man and his attempts to understand and explore his inner psychological struggles, endeavourimg to express himself through his music in a way few other composers have  managed to achieve.

While it is an autobiographical work exploring the composer’s personality, there are parallel themes as he depicts narratives, landscapes and other emotion states.

The measure of a great performance is the way in which these aspects of the composer’s life are realized by the conductor and the orchestra. Conductor Gemma New and the NZSO certainly achieved it with an intelligent and emotional performance.

From the opening trumpet blast to the final triumphant conclusion New was firmly in control of the orchestra, understanding the drama, inventions and contrasts of the music. She seemed by turns, a battling duellist, a lithe dancers and meticulous guide. Subtle nuances were made evident and individual instruments were allowed to shine. Even the long silences between the movements became part of the music, allowing the audience to reflect on each of the previous movements.

New managed to give the blaring, brass opening funereal march a sense of desolation while the singing strings provided a sense of optimism. This  romantic reflective mood depicted the man trapped between despair and hope.

In the second movement New seemed to be battling the ferocious sounds of the orchestra and the nightmarish, reckless drama of the music before it morphed into quiet reverie, bringing out nuances and subtleties that seemed to explore the tragedy and triumphs of human and personal history and she allowed the interweaving of the solo violin, the brass and the strings to give the work an intense melancholy.

The final two movements, which included the famous adagio for strings which is considered to be something of a love letter to his wife Alma Schindler, were delivered perfectly filled with an aching sense of love and loss.

The final movement was filled with changing moods, alive with bright woodwinds and brass. New led the orchestra  in a brilliantly controlled finale where the doors of perception open and the funeral tones of much of the work are replaced by more exultant sounds offering hope and renewal.