Perth Symphony Orchestra

CONCERT

reviewer Live Performance August 23, 2018August 23, 2018Chon, Cohn, Mozart’s Jupiter Symphony, office workers, Perth Symphony Orchestra, perth town hall

Perth Symphony Orchestra

Perth Town Hall

reviewed by Neville Cohn

Jessica Gethin and PSO What would most office workers do when it’s time to leave for the day? I imagine some might head for a drink at the nearest watering hole or perhaps do some hurried shopping for dinner before walking to a train station, bus stop or parking garage to head home. But the people who run Perth Symphony Orchestra came up with another possibility: offering city workers the chance to listen to a symphony concert before going home – and getting a little handy advice on yoga relaxation techniques for good measure.

On my way to the concert at Perth Town Hall, I wondered how many office workers would take the opportunity to attend a symphony performance straight after work rather than getting home as quickly as possible to put their feet up before the telly (if someone else was looking after dinner) or going into the kitchen to fix the evening meal.

In the event, the venue was packed out – and how inviting it was. Subdued lighting, small clusters of candles in tumblers set on window sills – and a range of pre- and post-concert drinks on offer in an adjoining room. And there were yoga mats on the stage floor for those who preferred that to conventional seating. And as concertgoers arrived by elevator or staircase to access the first floor hall, they were greeted by the sound of musicians offering pre-concert music in the tiny foyer. I was particularly impressed by Julia Watson’s finely considered offering of extracts from a Bach partita for unaccompanied violin. It was a frankly beautiful idea, a beautiful moment.

There was an almost palpable air of anticipation before the start of Mozart’s Jupiter Symphony, his 41^st and last essay in the genre. With Jessica Gethin in top form directing proceedings from the podium, and the orchestra led with characteristic authority by Paul Wright, the work unfolded in exemplary fashion. There was a fine balance of power and grace in the opening allegro vivace. Cellos were in excellent fettle here. The andante cantabile was beautifully considered with as much focus on detail as on conveying the overall sweep of the movement. And the playing in the minuet was an essay in graceful strength with a frankly delightful buoyancy of both mood and momentum. The finale brought joyous energy in abundance as it flashed and glittered with fine detail.

CALM Concert with PSO As was customary in Mozart’s day, the orchestra played standing (other than the cellists, of course). Audience seating was arranged around the orchestra, the players casually garbed in blue jeans and white tops. And from first note to last, there was about the playing a disciplined commitment which augurs well. Laurels, in particular, to the cellists and flautist; their contribution was particularly pleasing. The same could be said of the horn and trumpet players who were much on their mettle.

This was an important event. I hope there will be more of them. There’s clearly a demand for it.

Opera

reviewer Live Performance August 23, 2018Chon, Cohn, Opera, Perth Symphony Orchestra, Tristan, Tristan and Isolde, Wagner

Tristan and Isolde (Wagner)

W.A.Symphony Orchestra

Perth Concert Hall

reviewed by Neville Cohn

He was a horrible person. He treated women appallingly. His vanity was exceeded only by his vanity. He was ferociously anti-semitic – but never hesitated to appoint top-flight Jews to interpret his music when he needed them. So he was a hypocrite as well. Wagner also engaged in the German revolution of 1848-1849). He took part in the Dresden uprising and had to flee the country when a warrant for his arrest was issued. But he was, as well, a genius, a composer of unique and profound operas. And this was breathtakingly in evidence at the Concert Hall on Sunday when Asher Fisch presided over an account of Tristan and Isolde, presented in concert version.

In incompetent hands, Tristan and Isolde can all too easily sound dismayingly, endlessly dreary. But when there’s a conductor of highest accomplishment on the podium, an orchestra consistently on its musical toes and a cast of A1 singers, the result can be immensely rewarding – and this was most certainly the case on Sunday.

Star of the afternoon was that most gifted of singers: Stuart Skelton. As the eponymous hero of Wagner’s masterpiece, this extraordinary musician was beyond reproach, his every utterance as meaningful as one could ever hope to experience. With flawless diction, he gave point and meaning to the subtlest detail. Again and again, one listened to incontrovertible evidence of Skelton’s right to be considered heldentenor par excellence. He brought immense physical presence to his performance, moving about the front of the stage as if it was his natural milieu, his every gesture meaningful. Within moments of his first utterance, it was unequivocally clear we were in the presence of a Wagnerian master.

Gun-Brit Barkmin, standing in at very short notice to replace an indisposed Eva-Maria Westbroek, sang Isolde with care and understanding. Her voice blended well with that of Skelton – and their extended duos brimmed with an emotional power that was almost palpable. Their combined contribution bordered on the sublime. Bravissimo!

Bearing in mind that this was a concert version of the opera with singers positioned in a row in front of the orchestra on a stage devoid of theatrical lighting and props, the interpretative intensity brought to bear on the work was frankly astonishing – and gratifying. Throughout, Fisch’s powerful identification with the work enabled him to extract maximum effect from his forces. Trumpets, trombones and horns were in exceptional form as were the strings.

While Tristan and Isolde dominate the opera, there are crucially important supporting roles. I was particularly impressed by the singing of Ain Anger as King Marke. In fine voice and the epitome of regal dignity, he conveyed very effectively, his disappointment and anger towards Tristan who has taken the monarch’s intended bride (Isolde) from him. And as Brangane, Isolde’s maid-in-waiting, Ekaterina Gubanova sang with impressive confidence. Boaz Daniel, too, brought presence and vocal skill to the smaller role of Kurwenal.

Sally Kester, drawing on her immense knowledge of Wagner and his works, offered, as ever, fascinating insights into the opera in her pre-performance talk.