Three different but loved composers furnished this first well-structured and finely rendered WPO programme for this year. The reflection of these popular composers’ contrasted approaches to musical description, harmony and structural scope made for a compelling and vivid display of orchestra capability. Dynamic work full of expressive directness from Bizet, Ravel and Mendelssohn were the building blocks for this concert event.
This was again a typically substantial and exciting programme from Woollahra Philharmonic. It offered up interesting, lesser- heard works alongside popular favourites. Once more the collaboration with a talented soloist was central to the afternoon’s music-making, with dazzling effect.
Bizet’s Petite Suite, a work once scored for piano duet, provided a playful start to this orchestral event. Engaging characterisations, and a clear collecting of both Bizet’s pictorial gesturing and the lines afforded instrumental groups here resulted in some vivid vignettes. The whirring reiterations of a playroom spinning top for the ‘La Toupie’ movement- once heard in keyboard trillo guise- now shimmerred in the orchestral strings.
This colourful pastiche of treasured experiences from childhood was emphasised by surprises from the busy percussionists and the first of several successful wind section contributions. The ‘Petit Mari/Petite Femme’ movement, bringing dollhouse characters to life, deserves special mention for its seamless lyricism and warmth alongside the requisite freshness and sense of spontanaeity plus youthful curiosity.
The wind and percussion teams must be commended for their work during this opening Bizet suite. They provided great colourisation and shapes to the texture. This was also the case during the shifting textures of the concerto work featured in this concert- Ravel’s Piano Concerto in G major
Once again, this concert featured an excellent collaboration with the quality soloist attracted to participate with WPO. This orchestra’s skill as concerto accompanist was displayed solidly in the rendition of this eclectic and progressive work for piano and orchestra.
The manner in which all strands of the intricate tapestry conductor Christopher Hayles harnessed in Ravel’s concerto was impressive. The piano filigree, the works lyricism alternating between soloist and orchestra and the management of short orchestral solos weaving in and out of the textures showed great control by this leader. His solid interpretative skill and fine direction during the live performance obviously inspired the players to listen expertly when creating the varied vistas of this work so seamlessly.
Piano soloist Quang Hong Luu delivered a part to showcase his musicianship, reliable technique through bravura runs and washes of colour that gave the audience some very dreamy pianism and inimitable Ravel music to savour at the heart of this concert.
Above: Pianist Quang Hong Luu performing the Ravel Piano Concerto in G major with WPO. Images above and featured: Peter Rohde
The contrast in the concerto’s central movement was well positioned, and the piano line soared in the St Columba’s acoustic with incredible clarity and measured voice-like tone above this player’s expertly balanced keyboard texture.
This was a moment to treasure before the concerto rocketed to its conclusion with more exciting washes of colour and intricate dialoguing between WPO and their latest superstar soloist. Balance throughout this performance between the intricately interlocked lines from soloist and orchestra was exemplary here – I wouldn’t want more from listening to a much-tweaked studio recording.
The programme notes for this concert were once again a quality, clear and enticing listening guide for the newcomer to orchestral programmes or the experienced, initiated. Such notes for the Ravel Piano Concerto and the symphony after interval (Mendelssohn’s ‘Italian’ Symphony no less) were particularly accessible and rich in detail.
Christopher Hayles and Woollahra Philharmonic Orchestra provided us his version of one of Mendelssohn’s European travel-postcard works which full of vitality, colour and memorable characteristaion of the landscape and cultural highlights of Italy.
The celebration of Mendelssohn’s orchestral writing for this symphony’s opening movement was in reliable hands and hearts here. Its well-known leaps of summery joy were accurately and enthisiastically rendered, as were the moments of extended and deft thematic development to follow from this prodigious symphony composer.
This movement’s signature energy in this concert’s WPO voice rang in my musical memory for several days post-event. The Andante con moto second movement and the lively dance- scherzo third movement continued a well-characterised reading of Mendelssohn’s narrative.
As with the opening movement, Hayles and WPO powered through the symphony’s challenging finale in bright voice with a consistantly strong sound in the louder, forthright end of the nuance spectrum. This breathtaking playing continued from the memorable opening movement. It was an exercise in displaying drama and an exciting group declamation resulting from the precise, punchy, well-punctuated reading of Mendelssohn’s fine orchestration
This finale – some of WPO’s best playing in the recent past- was a breathtaking utterance, reverberating with solid cohesion in this venue. It brought the opening concert for this year to a rewarding close, much appreciated by new and established WPO fans alike.
The next instalment in this orchestra’s concert year is ‘Echoes’ with conductor Brad Lucas. on 28-29 June. It will feature the Horn Concerto by Mozart, more Ravel via his loved ‘Pavane’, more children’s soundscapes from Debussy this time and the thrill of being able to hear the Prokofiev’s ‘Sinfonietta’ Not to be missed!
