Above: Cello soloist Rachel Siu performed the Elgar Cello Concerto with WPO. Featured image: Woollahra Philharmonic Orchestra was led clearly through the programme by guest conductor Paul Terracini. Image: supplied.
The final concert event for Woollahra Philharmonic Orchestra for 2024 took place over the weekend of December 7 and 8. Once more the orchestra delivered a huge programme of some blockbuster works. Guest conductor Paul Terracini was a formidable presence, harnessing the talent and enthusiasm of this community orchestra admirably throughout. He proved to be an engaging music history raconteur in introductions to the works by Verdi, Elgar and Dvořák. Interpretations were as well-paced by this conductor and control of the composer’s challenging goals and material was key.
The trio of composers and works were never likely to disappoint, but their challenges of interpretation and streamlined delivery can disappoint if not adequately handled, or the temptation to overplay skews the balance. In the hands of even professional orchestras this is a real hazard. This was not an issue at this event, though, especially not with this thoughtful team captained by Terracini’s attention to detail and layering.
There was a commanding start to the event with the arresting La Forza Del Destino Overture by Verdi. Strength in the brass choir was a highlight of this work and indeed the entire concert. This conductor’s direction during this operatic prelude ensured warmth in strings despite register or division as well as woodwind colourisations across the shifting characters reflecting the twists in the stage story. The demands of Verdi’s diversity of expression in the overture package was successfully answered by Team Terracini here. It’s undulating punchiness and plaintive unease were vividly explored and changed back and forth from expressive extremes quickly.
In this concert’s quite traditional format of opening work-concerto-interval-large format symphony, WPO responded with stamina, successful storytelling and enviable clarity Dvořák’s ‘New World’ symphony did not get bogged down in sentimentality. Instead, its hurtling vistas with American folk tune inspired, fin-de-siecle openness was a solid romp. There was lithe motivic swapping and expert communication across the band. Dvořák’s traversal of the globe and morphing of the traditional multi movement model from Europe, now breathed fresh prairie air full of hope here.
Sophie McCormack was a cor anglais ambassador in the ‘Going Home’ folk song sections at this work’s still heart. Clarity and clear, simple lines so well controlled inspired us all to jump aboard this calm, colourful and joyful wagon of familiarity. The Scherzo and finale showed sensible approaches to building climaxes and ensured a rollicking time when they arrived. Dvořák’s manipulation of the local American vibe reach the local crowd in Woollahra with freshness, accuracy and a bold svelte blend. The chance to hear this work’s mixed of Old World European orchestral trends and New World folk contours live at the end of WPOs busy and bold performance year was a rewarding experience.
Above: WPO Concertmaster Rob Nijs, soloist Rachel Siu, and WPO rehearse at St Columba Uniting Church. Image: supplied.
Elgar’s Cello Concerto in E minor (Op 85) from 1919 speaks to us in wistful, frenzied, resigned reaction to a world surviving war. Since its premiere there have been many approaches to its lyricism and extension of the cello growl or gentle joint song with the orchestra. Thankfully in this version, much awarded Julliard graduate and Sydney Conservatorium staffer Rachel Siu found a myriad of nuance, bravura and subtle beauty that left bumpy battle ground landscapes behind. A wistful, elegiac Elgar emerged to enhance the post-Romantic regret and lament of violence instead of a crazed carving up of the cello line and unnecessary urgent conflicts with the clarity of material or the orchestra’s participation.
Siu’s commitment to an unhurried first movement was consummate. It refreshingly reinforced the idea of this work as a noble lament of post-war survival, rather than something of a savage war zone itself, as is at times heard. Hers was an opening containing some very erudite Elgar lyricism. Siu’s cello voice was flexible, timeless, intricately hued and measured.
The slow movement was a finely contrasted scena, representing a sad physical and emotional post-war landscape and succeeding through elevated coversation with and support of the soloist by WPO. This synergy of soloist with orchestra was to be envied by soloists and orchestras anywhere. Conveyance of Elgar’s layered song. There were many moments where Siu’s solo delved deep into the group texture. Becoming a well balanced part of a very warm sonic blanket for the audience to enjoy.
Filigree flowed, was dazzling but never out of place nor distracting us from the core lyricism. Fast passages were easily and sensibly traced and the natural progression of the narrative towards more vibrant banter in the final movement was never lacking depth or control in the conversation with WPO.
This Elgar concerto was a highlight of the ‘Destiny’ programme, in this event full of memorable music making. It unfolded seamlessly and displayed the thrill of nicely cultivated broad-strokes playing with effective collaboration with the attentive accompanying troupe. In true concerto mode, many of the cello’s capabilities for sonority, song development and stretching of motifs in single line virtuosity were explored and nicely accommodated by Terracini and orchestra.
WPO’s 2025 season is available to peruse and purchase tickets for online at : https://wpo.org.au. Concertos by Ravel (Piano Concerto in G major) and by Mozart (Horn Concerto No 3) will feature, in the midst of exciting, diverse programming including Beethoven’s Choral Fantasy, theatrical music from Cimarosa plus Fauré, Prokofiev’s Sinfonietta and Wagner’s youthful Symphony in C Major.
