Adelaide Symphony Orchestra. Festival Theatre. 6 May 2016
With wacky-humored conductor Guy Noble on the podium and the iconic Margaret Pomeranz in the on-stage host’s chair (complete with ‘nana blanket’ just in case), the evening of movie musical masterpieces was bound to be great fun, and it was.
The Festival Theatre was fully sold out – not a spare seat to be had, not even in the very back rows or the balcony boxes. This is not common, and especially for an orchestral concert, and it serves to remind us that cinema is a very significant component of everyone’s cultural life, and for some, the only form of orchestral music to which they are regularly exposed.
Much of the music in films is almost subliminal – it’s there in the background and it’s not really noticed – but if it’s absent the movie experience is so much the poorer. Then there are those famous themes that linger with you long after you have left the cinema as you incessantly hum them, and there are those iconic musical phrases that are so haunting and emotive that they have an eternal life of their own.
The generous programme included a diverse selection of famous pieces written by giants of film music including John Williams, James Horner, John Barry, Ennio Morricone and Hans Zimmer to name but a few. The evening opened auspiciously with the famous 20th Century Fox fanfare, complete with floodlights evocatively cutting through the haze above the orchestra. Then it was into the main title from Star Wars before the living bejesus was scarred out of us with the screeching strings in the piercing riff from the murder scene in Psycho and the ominous and menacing opening chords in the theme from Jaws. Two numbers over in a matter of seconds, but the fear and sense of foreboding still hangs over us!
The Adelaide Symphony Orchestra was at full strength and included an expanded percussion section, additional trombone, harp, guitar and piano (not credited in the programme). The stage was full to overflowing, and the cyclorama curtain behind the mighty ASO was vividly lit throughout the evening. It was a colorful sight to behold.
The orchestra was also amplified, which is not a simple thing to engineer, and the balance was not always entirely sympathetic to the music. The strings especially occasionally sounded quite ‘blurred’ and lacking musical color, but in the main this didn’t matter. The audience was enthusiastic in its applause after each number; never more so than when Noble took to the stage dressed as ‘Darth Vader’ and announced to the dashing Acting Concertmaster Cameron Hill that he was his father proceeding to conduct The Star Wars Imperial March with a fluorescent light sabre! These antics were only eclipsed when he later ran slow-motion across the stage dressed in running attire while Pomeranz conducted the ASO in the theme to Chariots of Fire.
It was great fun and the audience enjoyed a cornucopia of other musical gems from films including Lawrence of Arabia, Titanic, The Godfather, Lord of the Rings, Out of Africa, Apocalypse Now, Inception, Harry Potter, The Man from Snowy River, and The Curse of the Black Pearl.
Every year the ASO put on such concerts in their so-called Showcase Series. Yet to come is The last Night at the Proms (in the best tradition of the Royal Albert hall) and Cirque de la Symphonie (which will be an aurally and visually spectacular fusion of circus and live orchestral music.)
Got your tickets yet?
If your appetite is whetted for orchestral music by these events, why not try the ASO’s Classics Unwrapped series (a gourmet assortment of classical music’s sweetest treats!).
Cool.
Kym Clayton
When: 6 May
Where: Festival Theatre
Bookings: Closed
Adelaide Symphony Orchestra. Adelaide Town Hall. 29 Apr 2016
The programme might have been entitled ‘Fiery Nielsen’, but that doesn’t quite have the same box office pull as ‘Elegant Tchaikovsky’, does it? But despite being treated to some of the best cello playing available today in an exemplary performance of Tchaikovsky’s very elegant Variations on a Rococo Theme – the Fitzenhagen version, regrettably, not the original – Carl Nielsen’s remarkable Symphony No 4 (known as The Inextinguishable) dominated the evening. Having said that, the audience was still humming the principal theme of the Rococo Variations on their way out of the…very elegant… Adelaide Town Hall at the end of the evening!
Guest conductor, and much revered former principal conductor, of the ASO Arvo Volmer was in his element throughout the evening. Volmer knows and deeply understands the music of Scandinavian and Baltic composers, and is well practiced in communicating this to the ASO (who can forget his cycle of the Sibelius symphonies?). Volmer’s reading of Sibelius’ tone poem Tapiola, his last orchestral masterpiece, was immensely satisfying. Volmer drew out the contrasting hymnal and storm-like natures of the composition. The strings were noble, and the woodwind and brass, at times, roared with threatening authority.
But this storm paled into insignificance compared to the battle between the two sets of timpani in the Nielsen symphony that Volmer set on diametrically opposite sides of the stage! Volmer swept onto the stage after the interval and launched the orchestra into the fierce opening tutti before the applause had ended and before he had even settled himself on the podium. It was dramatic, and the passion did not let up until the symphony was over, with all movements played without breaks. Volmer was not seduced by the changing tempos and kept the piece under control, but on a knife’s edge. It was exhilarating and when it was over, the audience erupted into generous, sustained and deserved applause. Was it because of the music, or was it because their affection for Volmer? Surely it was both.
The star of the evening was the brilliant twenty-seven year old Armenian cellist Narek Hakhnazaryan. His performance of the Rococo Variations was nothing short of awe inspiring. He inhabited the piece and elegantly drew out its long and languid melodic phrases. His warm phrasing in the opening statement of the theme paved the way for him to gently encourage and coax the musical grace from the remaining variations without becoming mawkish. Hakhnazaryan is also a joy to watch. The epitome of control and command, casually-dressed he was at one with both his instrument and the music, and the result was an image of benevolent authority. His reading of Tchaikovsky’s Nocturne for Cello and Small Orchestra was equally sublime, and his encore before the interval was, and I’m guessing, an Armenian folk dance that was played at a blistering pace. The bowing and finger work required almost gymnastic abilities. Hakhnazaryan also chanted to the piece and the result was exhilarating and enthusiastically received by the large audience.
A superb concert. Bravo, Volmer. Bravo ASO. Bravo Hakhnazaryan.
Kym Clayton
When: 29 Apr
Where: Adelaide Town Hall
Bookings: Closed
Adelaide Symphony Orchestra. Adelaide Town Hall. 1 Apr 2016
The programme may have been named in honor of Elgar, but Mozart’s Sinfonia Concertante for Violin, Viola and Orchestra, K364 was the highlight of the evening and the bacon was brought home by our very own Natsuko Yoshimoto and Imants Larsens on violin and viola respectively.
In a word, they were superb.
The Sinfonia is a challenging work to interpret, and it rewards a patiently constructed dialogue between the violin and viola in contrast to each soloist abandoning themselves to self-regarding introspection. Yoshimoto and Larsens built their partnership beautifully and combined the voices of their instruments exquisitely. The depth of their mutual understanding was palpable. Yoshimoto almost austere, Larsens almost overelaborating. One the seducer, the other almost tempted. Both in control at all times and ever so gentle with Mozart’s delicate material. At the conclusion, Yoshimoto delicately kissed Larsens, her husband, fully on the mouth and they both beamed radiant smiles at the enthusiastic audience.
Guest conductor Mark Wigglesworth led the orchestra in an emphatic performance of Elgar’s Symphony No.1 in A flat, Op 55. It is written on a grand scale but, like the Mozart, it demands attention to detail. It is a complex work, almost over-written, and its numerous meter, dynamic and tempo changes need to be handled with care to allow the subtlety in the composition to come to the fore. At times, Wigglesworth overplayed the dynamics and consequently stretched the acoustics of the Adelaide Town Hall to its very limits, but he managed to lay bare the inner detail of the symphony. The result was something very English, very noble.
Kym Clayton
When: 1 Apr
Where: Adelaide Town Hall
Bookings: Closed
Adelaide Symphony Orchestra. Adelaide Town Hall. 18 Mar 2016
Maestro Nicholas Carter walked briskly across the stage of the majestic Adelaide Town Hall, assumed the podium, and gave a sprightly bow to the audience in acknowledgment of the warm applause. With almost no warning he turned speedily to the assembled forces of the Adelaide Symphony Orchestra and unleashed the passion of Richard Strauss’ tone poem Don Juan. The almost chaotic start took the audience by surprise and the exciting roller coaster that was the opening concert of the 2016 Master Series was underway.
With sweeping gestures Carter gave the orchestra ‘its head’ and the result was impressive. The woodwinds and brass, especially the horns, were as good as they have ever been. Concertmaster Nastsuko Yoshimoto elicited plangent tones from the violin as she gave voice to the fervid Don Juan as he plied his romantic skills.
Carter arranged the orchestra in a non-traditional manner, with basses and first violins on his left, celli in front, and violi and second violins to his right. The positioning of the celli gave a sensuous and warm heart to Don Juan and to the entire concert.
Ravel’s Piano Concerto in G was performed with great élan by Croatian born pianist and composer Dejan Lazić. Dressed in smart jess jeans with a discernible shiny belt and a rather hip shirt, Lazić looked more like he was dressed for a night out on the town in Zagreb than he was for a serious recital, but looks are (almost) always deceiving. He was there to pump as much life into the roller coaster ride as he could, and that is exactly what he achieved. Lazić’s performance was superlative: he imbued the allegramente first movement with the requisite airy and ‘bluesy’ Gershin feel, and the adagio assai second movement with gentle romance. He gave free reign to his virtuosic brilliance in the dazzling presto final movement, and on occasion his right hand would leave the keyboard at the end of a well-articulated phrase and conduct both his left hand and the orchestra itself! Lazić and carter combined beautifully, and the thunderous applause at the end was immediate, sustained and well deserved.
The roller-coaster ride continued with Beethoven’s iconic fifth symphony (da da da dum!), and Carter’s reading was passionate and brisk. It is difficult to imagine that a conductor could find something new to say about something as well know and as often played as the fifth, but Carter managed it. His tempi were fast and reminiscent of those used by Sir Roger Norrington in his influential recordings in the late 1980s with the London Classical Players.
Carter however kept ‘a lid on it’ and worked the dynamics to fit. The allegro con brio first movement put our senses on edge, but they were calmed with a less unorthodox reading of the andante con moto second movement. Some small license with the dynamics and rhythm in the scherzo allegro third movement created the impression that Carter was perhaps preparing us for a final assault in the tempestuous allegro final movement, which is exactly what happened. The roller coaster was wrenched into overdrive and the ride was exhilarating. From the stalls in the majestic Town Hall auditorium – the acoustics of which were soundly tested by this concert – once could discern the beads of perspiration on the brows of the string players. Their labour was indeed a labour of love and it was emphatically applauded by an exhilarated audience.
The Adelaide Symphony Orchestra demonstrated that it is indeed a world class orchestra and it is indeed fortunate to have Nicholas Carter at its head.
Kym Clayton
When: 18 Mar
Where: Adelaide Town Hall
Bookings: Closed
Adelaide Festival. Arts Projects Australia. Botanic Park. 11 to 14 Mar 2016
While the weather makes for a challenging long weekend in Botanic Park, the plethora of entertainment on offer at this year’s WOMADelaide festival makes it well worth the effort. From gorgeous music, to presentations by David Suzuki, Angelique Kidjo and Dr Karl Kruszelnicki, and a bouncy castle in the shape of Stonehenge, there is something for everyone.
The musical highlights start with Dakha Brakha, an eclectic Ukrainian quartet who bring ‘experimental’ to a new level. An amazing blend of old and new, their music varies between haunting, ominous and heartfelt to beat-driven electronic grooves and rap vocals. Decked out in traditional garb, complete with tall papakhas, they rock the Foundation stage with accordion, percussion, double bass and keys. They admirably don both jackets and hats for the full performance despite the heat and humidity.
In a perfect follow up, Ibeyi hit Stage 3 next door with their unique French-Cuban fusion. Twin sisters from Paris, they are heavily influenced by a Cuban father of Buena Vista Social Club pedigree. His passion for African Yoruba culture has continued in their music; you can hear this influence as well as that of their South American roots and exposure to Western pop. Reminiscent of strong female vocalists such as Kidjo and Regina Spektor, they mix soul, pop and drum percussion to deliver an exciting and original sound.
As a humid, sticky afternoon finally makes way for a perfect cool and breezy evening, Israeli songstress Esta Rada brings a big band sound to the Foundation stage. Her strong jazz vocals pair with the thumping bass and brassy soul of the band. She cuts a powerful figure on stage, striding between the crowd and her band and firing up both. Her set is the perfect, high energy start to the evening as the sun finally dips behind the stages and brings relief to the sweaty but enthusiastic crowd.
As the last vestiges of sun faded from the sky, the electro-beats of 47Soul kick off the night with a wall of middle eastern-infused dance. Their light show is just as impressive, and draws passing crowds in as the set progresses. The 7pm slot is a tough gig, as you complete with the vast array of amazing food on offer, and a tiring and hungry crowd. 47Soul kicked the crowd back into life and set the scene for the Saturday night to come.
Sunday sees the opportunity to witness a stalwart of African music in the all-male vocal group Ladysmith Black Mambazo. Existing in various forms since the 1960s, this acapella, or Isicathamiya, group are famous throughout their homeland and the world, having toured extensively for the past 20 years, including a stint with Paul Simon on his 1987 Graceland tour. They practise a traditional form of Zulu singing, which is soft and gentle and coupled with choreographed dance moves.
For the members of Ladysmith Black Mambazo, their music is a way of life and a means of sharing the beautiful culture of South Africa and a message of tolerance and peace. This message is unmistakable in their performance on the main Foundation stage; their songs are welcoming, heartfelt and in no need of translation. Simply dressed and without supporting instrumentation or fanfare, their raw vocal talent fills the massive stage, spilling out over the park and taking us all the way to the plains of Africa. The gentle dance movements match the pace of their song and blend as beautiful as their voices. The deep, well matched timbre of the choir's collective voice, combined with seamless harmonies, makes this music a true pleasure to experience.
Switching up the vibe, the gorgeous Sarah Blasko is one of the crowd-pulling acts on the WOMADelaide line-up, who enjoy commercial success. Blasko's late afternoon set is a draw card for many, and she delivers with a set that shows off both the quality of her voice and the strength of her set list. The haunting highs of All I Want are pitch perfect, and she keeps the hits coming with a great range of songs from popular albums What the Sea Wants, the Sea Will Have and As Day Follows Night, including Always on this Line, No Turning Back, and We Won't Run. She keeps up a witty banter with the audience and maintains a large front of stage crowd despite the baking heat.
Sacrilege is a new and novel concept for WOMADelaide; a giant, inflatable version of the iconic British landmark, which has been touring the world since its original opening in Glasgow in 2012. Open to all ages and able to hold up to 100 people at a time, the vast bouncy castle is worth a relatively short wait to completely entertain and exhaust oneself in 10 short minutes.
Monday brings a welcome break in the humid weather, and the light and breezy afternoon is the perfect backdrop to a seated performance from Debashish Bhattacharya. Bhattacharya graces the intimate Zoo Stage, accompanied by Tanmoy Bose on tabla, daughter Anandi on vocals, and an overflowing audience of seated appreciators. Widely regarded as the global master of his instrument, he brings classical Indian music to the slide guitar. Similar in sound to a sitar, Bhattacharya's steel lap guitar is of his own design and adapted to match his compositions, which are beautiful and hypnotic.
Marlon Williams & the Yarra Benders gather a big crowd in front of Stage 2, with Williams having built a solid reputation for himself on these shores since moving from New Zealand to Melbourne. Their authentic bluegrass sound is brilliantly reproduced on stage; one would struggle to find a more authentic folk artist out there today. His soulful voice is timeless; unique, beautiful and tinged with sadness. Reminiscent of the likes of Jeff Buckley and Elvis, Williams and his band are a standout for the weekend.
Continuing the family tradition, Sean Kuti & the Egypt 80 hit the WOMADelaide Foundation stage, two years after his brother toured with his group Femi Kuti & The Positive Force. Heading up his father's band, Sean Kuti presents a unique opportunity for audiences to see both the continuation of his father's work as well as a number of Fela's orginal works.
Totally meeting all expectation, the final set is a big, loud celebration of Afrobeat. The large band fills the stage and their energy is matched by the dramatic light show and Sean's stage presence. His political messaging and desires for a fairer, better Africa are as inspiring as the music. A wonderful show on the closing night of the 2016 festival.
Nicole Russo