Christmas is coming. I don’t think I am going to any more live performances this year, so this is a post to wrap things up for the year.
26 10 SSO, de Waart – Beethoven 9
This was a hot ticket: the orchestra sent out an email requesting any who weren’t going to return their tickets and receive a credit in exchange.
I expect it was the Beethoven 9 that brought them in. Once it would have been the return of “Edo” but maybe that aspect is weakening as memory of his tenure as chief conductor fades.
For me, the Haydn Symphony No 104 (also his last; one of the “London” symphonies) was more intriguing.
In the Beethoven, the Chinese bass (or bass-baritone), Shenyang, was phenomenal. And everyone sang from memory!
De Waart is now 77. He doesn’t look much older to me than when I first saw him though that is in part a trick because my perception of others’ age has been moving forward (or back) with my own. The one giveaway is that he has developed a little mannerism of steadying himself on the handrail when he steps down from the podium.
17 11 SSO – Robertson, Capucon, Dvorak, Korngold & Mahler (5)
This was billed (and priced) as a gala concert on the eve of the SSO’s European tour. We got to hear a kind of fantasy orchestra, with a few choice guests, soon-to-be principal flute Joshua Batty, and I’m guessing soon to go principal trumpet, David Elton, who was appointed principal trumpet at the London Symphony Orchestra this time last year and has been a purely paper presence until this recent return.
4 12 Pinchgut Ataserse
An extreme rarity, performance of the 1740 version of this work by Hasse for the first time since it was performed in Dresden.
At first wasn’t sure whether I would go to this. I was persuaded by the second half caught on the radio on Sunday night (it’s fun these days to follow the score, courtesy of IMSLP) and the availability of reasonably-priced restricted-view seats.
Pinchgut fans seem always to be saying to each other “I think it’s their best yet!” I expect there is a bit of confirmation bias in this or maybe a trick of perspective, but this was probably the most consistently well-sung Pinchgut performance across the 6 principals in recent memory. Vivica Genaux, though very much promoted as the star of the show, did not stand out incongrously above the rest of the cast.
Orchestrally, the first half was all a bit the same, with long sweeping lush string lines, flutes introduced for moments of pathos, horns for martiality. There was more variety in the second half. I most enjoyed Artabano’s aria Pallido il sole (here at 2:39:20 while the link lasts; cf Carlo Vistoli singing a bit slower in 2014 here), not least because the strings managed a sound a bit like muted strings. In the gloom I couldn’t make out any actual mutes and didn’t see the players removing them. I remain, as ever, a sucker for muted strings – even if simulated.
7 12 Ensemble Apex
This is a group of young musicians either at or recently from the Sydney Conservatorium. It’s been going since 2016. I’m guessing it owes its existence to the conducting ambitions of its director, Sam Weller and the willingness of his fellow-students to assist those (and have some playing opportunities themselves).
Earlier this year, the ensemble gave a rare performance with dancers of Bartok’s Miraculous Mandarin. I missed that, but in the aftermath there was an opportunity to sign up for their last concert of the year, to include a performance of Rhapsody in Blue.
I signed up to go, then forgot about it. So it’s just as well that a reminder email popped into my inbox on Wednesday.
Simon Tedeschi was the the piano soloist. As well as the Gershwin, he played the Brubeck Blue Rondo as an encore.
The concert was held in the “Music Workshop” at the Con. This is probably a bit small for an orchestra in full cry. When they play loud you got that kind of sonic constriction of too much music in a confined space that to me says “Band Practice.” T.hey could do with a set of risers
The other works were:
Adams- Short Ride in a Fast Machine
Koehne- Powerhouse
Marquez- Danzon No.2
Maybe the Adams and the Koehne one after another were a bit too much of the same sort of thing – even though they are really quite different.
Oliver Schermacher played a truly wild clarinet solo at the start of the Gershwin.
I hope the Ensemble comes back next year.
8 12 Sydney Youth Orchestra, Briger, Barker et al, Strauss
I got a tip-off on Friday from someone who goes to many more concerts than I do. The attraction was that Cheryl Barker would be singing the Four Last Songs and the Marschallin’s part in excerpts from the end of Rosenkavalier. Strauss’s Don Juan rounded out the program, and for completeness I should add that Peter Coleman-Wright had a walk-on moment as the police officer to whom the M replies with the famous “ja ja.” Alexander Briger conducted.
Cheryl was definitely the highlight of the concert. She had no difficulty being heard above the orchestra. Her vibrato is a bit more pronounced than when I last heard her. In September I felt the orchestra perpetually lagged in a way which must surely have tested her nerve. Otherwise they made a good fist of things. The horns were in particularly fine form. Everyone else could have quietened down a bit more for the woodwind twitters near the end of Im Abendrot.