This Met Concert, the fifth and last in 2019 for The Metropolitan Orchestra, was a rich and lush offering with which to conclude yet another busy year. Three works were programmed around an expressive performance of Max Bruch’s first violin concerto at this concert’s centre.
Restraint, precisIon and clean, elegant placement of structures within Borodin’s ‘ In the Steppes of Central Asia’ (1880) was a charming opening to this concert. This Russian composer’s gift for clear and expressive orchestration was here realised with signature clarity by chief conductor Sarah-Grace Williams.
The contrasted characters of themes for the Russian troops or Asian caravan of the story were delineated with care and well articulated here. These familiar programmatic themes smoothly and easily moved around sections of the orchestra, resonating both withIn the cultural clash of the musical program and the still ambience of this venue.
It was then time to launch into a definite highlight and crowd pleaser in this concert, the Violin Concerto No. 1 (1868) by Max Bruch. In Met Concert #5, TMO‘s concertmaster Victoria Jacono-Gilmovich made a comfortable shift to solo status. She gifted to us a bold, brusque but always lyrical performance of this audience favourite.
Each of her successive utterances above the orchestra in this concerto’s first movement were launched commandingly. This violinist always displayed a fine sensitivity to melodic shape. Her violin voice soared with repeated grace into its upper register throughout this arresting opening.
TMO Yet again proved itself to be an intelligently supportive emotional equal for the chosen Met Concert soloist. Bruch’s undulating artistic landscapes were painted as a vivid yet subtle scene in this collaboration.
Jacono-Gilmovich’s poise and elevated musicianship provided many beautiful moments during the concerto’s central movement. With no hint of indulgent overplaying, her continued lyricism and heartfelt delivery of her unique eloquence led us through this movement’s stillness in secure strides. We then leapt with her into the finale which was abounding with joy and energy as she conversed brightly with her TMO colleagues.
This violinist’s commissioned encore piece was a version of the song ‘Smile’ from Chaplin’s film ‘Modern Times’, as later sung by Nat King Cole. This return of the music to instrumental performance but now arranged for violin and guitar with a Spanish feel was a compelling transformation. As a tribute to the violinist’s brother and as an innovative piece of popular and classical music crossover, it was a mighty serving of humanity on top of the typical warmth from the TMO stage.
Above: Chief Conductor Sarah-Grace Williams with TMO. Featured image: TMO Concertmaster Victoria Jacono-Gilmovich as soloist playing the Bruch Violin Concerto No 1 with TMO
With the entire second half of this concert taken up with Symphony No 5 (1919) by Sibelius, TMO and its conductor were able to display its interpretative skill. The demanding strands of this work which constantly divide the orchestra were drawn together with apparent ease by Sarah- Grace Williams. Her skilful approach to pacing and shaping any symphonic structure encountered was as always very rewarding to watch.
TMO and Sarah-Grace Williams worked hard throughout the performance and especially in the symphony’s first half to recreate Sibelius’ catalogue of colour via each new division or combination of the instruments.
Admirable pictorial clarity resulted from such realisation of the score’s intricacies. A sensible deciphering of the score was done with regards to the featuring and blending of lines within the separate instrumental choirs.
Organic development of tension towards tutti declarations was gradually fostered by TMO , enhancing balance of the work’s architecture and the element of surprise for the listener. Melodic lyricism and accompaniment sound effects were addressed with equal intensity as Sibelius’ sonic experiments were brought to life.
This symphony’s six strong chords to finish also heralded the end of TMO’s 2019 Met Season. Coming to an end too was TMO’s eleventh year as an orchestra, and the end of a seven-year stint at the ABC Centre. The launched 2020 season includes more world premieres, family concerts and chamber music concerts to further diversify and cement TMO’s unique place in the Sydney live music scene.