W.A.Symphony Orchestra

Perth Concert Hall

reviewed by Neville Cohn

Over the decades, I have lost count of the number of times I’ve listened to Gershwin’s Rhapsody in Blue. Many of these performances were impressive – but Shuan Hern Lee’s account of the much loved Rhapsody was in a class of its own: it was unforgettably fine. With fingers that know few fears, young Lee reached for – and touched – the stars. Stylistically impeccable and presented with rare clarity, this was a performance to cherish. Unsurprisingly, young Lee’s virtuosity prompted a blizzard of cheers, with some of the audience standing as they clapped in appreciation of an extraordinarily fine reading. If ever there was a reason to offer an encore, it was this audience reaction. Instead, and oddly, conductor Elena Schwarz came on stage and took the WASO through a frankly lacklustre reading of  Dvorak’s Slavonic Dance opus 48 no.8.

Earlier, we listened to bass James Clayton in Madamina, il catalogo e questo from Mozart’s Don Giovanni. Clayton’s account bordered on the faultless. Blessed with a beautiful voice, he sang as if the aria had been written specially for him. Strings played beautifully here. This was a highlight of the afternoon. Later, Clayton was joined by tenor Paul O’Neill in the much loved  In the depths of the Temple from Bizet’s The Pearl Fishers. As well, O’Neill sang Nessun Dorma from Puccini’s Turandot with a finely focussed voice.

The WASO Chorus earned laurels as well. Its contribution gave splendid point and meaning to Borodin’s ever popular Polovtsian Dances. This was a consistently sensitive offering. We need to hear this polished choral ensemble more frequently. The Polonaise from Tchaikowsky’s Eugene Onegin needed a more emphatic beat, though.

Glinka’s rousing overture to Ruslan and Ludmilla made its mark in a most positive way. So, too, did the famous  Intermezzo from Mascagni’s Cavalleria rusticana. Under Elena Schwarz’s direction, WASO’s playing of its opening moments was informed by an entirely appropriate tenderness. But in Aaron Copland’s Appalachian Spring, the playing sounded rather uneven. Lee’s brilliance in the Rhapsody, however, more than made up for this disappointment.