Above: This opening concert of the 30th Anniversary season for Woollahra Philharmonic Orchestra was led by percussionist, composer and conductor Timothy Constable. Photo: supplied.
Of Wisdom was the first of four Pearl Anniversary year concert titles reflecting the thirtieth anniversary of Woollahra Philharmonic Orchestra. Signature innovative programming for the group still gifts us new listening experiences but in this bithday year re-programmes some of the major works of the orchestral canon in this orchestra’s repertoire.
Under the baton of Timothy Constable, an expressive rendering of the Overture to Mussorgsky’s late unfinished opera Khovanshchina.(1880) opened the concert. The prelude was most likely a previously unheard discovery to many in the loyal crowd. This interpretation set the benchmark for quality in this year’s opening concert. It indicated this would be an event full of clarity, well-executed, knife-edge contrasts and great conversation across the WPO line-up. The order of the day was a string of solid, interlocking statements from the individual instrumental families in all three works, generating lively, entertaining and nuanced conversation.
There was a beautiful, unhurried stillness achieved in this opening. Similar gentle, clear lines began the Shostakovich Piano Concerto No 2 with young guest performer Camilla Choi in a concerto collaboration with the orchestra which celebrated not only Shostakovich’s joyous Piano Concerto No 2 in F major (Op 102) but in its colouring and dynamic execution celebrated the talent and agile pianism of this emerging star as well as the prowess of the birthday band with regards to sympathetic and interesting accompaniment of a soloist
This work’s subtle, almost simple small gestures are admirably expanded by Shostakovich into true fireworks. This stunning trajectory was offered up with precision, brute strength and stunning cohesion from conductor, pianist and orchestra. The accessible, exciting shapes and switch between chordal bravura and smooth runs in repetition were well shaped and articulated here as Camilla Choi spoke with eloquence, clarity and impressive building to huge climaxes. Balance with the orchestra was very good throughout the interplay.
This concerto’s opening reminds us why Shostakovich, the classical composer, film score writer and pianist has wide appeal. It was game on here as the orchestra and soloist led by Timothy Constable devoured the textures and direction with joint precision and fine attention to direction.
All of the long, winding piano phrases, delicate layering and the more subdued beauty demanded of the soloist in the second movement of this concerto were delivered with refreshing clarity and loaded emphasis despite the small textural bandwith at times.
WPO offered a crisp atmosphere and firmly woven tapestry over which Shostakovich’s piano lines and Camilla Choi’s confident pianism sang in all registers. In this space, more than any work had done for some time in my listening history, the impact and momentum of this work enveloped the audience with resounding spot-on and convincing success.
Contrasts of tone colour, clean switches between orchestral families and chameleon flicks of articulation and figurations continued in the finale. This version of the work blended piano pyrotechnics with a touching, musically wise and prodigious tribute to the colour of Shostakovich from this teenage pianist and thirty year old orchestra.
Challenging runs in the piano plan were fluid and fresh here and moments of the composer’s signature aching stillness were played with measured intelligent are by Camilla Choi.
Above: Pianist Camilla Choi performed Shostakovich’s Second Piano Concerto with Woollahra Philharmonic Orchestra. Photo: supplied.
There are many spiky contours of angular patterning in this as in many if Shostakovich’s works. These shapes, at times challenging for the listener as well as instrumentalists were played with endearing fresh vibrancy by the safe, skilled hands of this focussed pianist. All three movements were presented by the soloist and WPO team with adroit excitement. The collaboration was as joyous as the master composer’s modern approach to the concerto form.
Following interval we were gifted no less than Mendelssohn’s Symphony No 3 (Op 56), the so-called ‘Scottish’. A lush eloquent vista was explored by Timothy Constable and WPO right from the very start of Mendelssohn’s vivid musical postcard evocation of savage landscapes. There was a commanding, mature and full sound achieved by the orchestra for this loved, popular work.
It was tight and vibrant throughout and flipped smoothly back and forth in scope, volume and density of the storyline. This performance from WPO was a vivid rendering and representation of the newly discovered Scottish vistas by the master orchestrator Mendelssohn.
The symphony’s fuller textures resonated well in this location on this occasion-perhaps also with renewed force and accuracy under this conductor’s pacing than I have heard before. The architecture of this interpretation made sure no opportunity for climax or the journeying to it was lost ior less that excellently mapped out in this dramatically secure and colourful performance.
The return of the first movement’s opening searching broodiness appeared with respectful reverence and careful treatment and the movement’s conclusion was delicate and precise. This work’s second movement danced with folk-like fervour and impressive, well-balanced agility.
In the slower third movement, eloquence again from this orchestra signified a communicative enthusiasm and endurance as heard in what felt here to emanate from an orchestra with much more than a thirty year history. The brass choir contributed with admirable cohesion to the success of several scenes here.
The nicely traced arcs of travel and musical exploration, in this work translated into Mendelssohn’s virtuosic language for orchestral voice, were showcased with a finely paced and diversely voiced version here. All of the first three movements concluded with intimate restraint, making us look to the next with happy anticipation, no matter what stormy sonic treats had preceded each movement’s ending.
This symphony from WPO’s repertoire and the first Pearl Anniversary concert concluded with a directness and triumphant example of a blockbuster, loved work in the Romantic music canon- with musical landscape painting consistently delivered vividly throughout the concert’s complex and shifting atmospheres.
To attend Woollahra Philharmonic concerts in 2026 is to be in a very exciting environment and part of a well-deserved party indeed. Great programming from this group continues. Lesser-known, interesting works will be juxtaposed with major works we are much more familiar with- works which that have paved this orchestra’s way to where they are in 2026.
And that is a very good place to be in, if this first concert is to be evidence of WPO’s consistent enthisiasm, hard work and evolution under guest conductors and alongside excellent emerging local soloists.
Woollahra Philharmonic Orchestra’s next concert, ‘Of Spring’ on 27 and 28 June features the return of soloist Philip Shovk and conductor Daniel Pini. On show in this celebration will be the Tchaikovsky Piano Concerto No 1 and the mighty Appalachian Spring by Aaron Copland.
