{"id":245,"date":"2019-03-26T13:32:19","date_gmt":"2019-03-26T02:32:19","guid":{"rendered":"https:\/\/ozartsreviewonline.com\/oz\/?p=245"},"modified":"2019-03-28T12:49:12","modified_gmt":"2019-03-28T01:49:12","slug":"w-a-symphony-orchestra-10","status":"publish","type":"post","link":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony-orchestra-10\/","title":{"rendered":"W. A. Symphony Orchestra"},"content":{"rendered":"\n

WASO Chorus\/ St George\u2019s Cathedral Consort<\/h2>\n\n\n\n

Perth Concert Hall<\/h3>\n\n\n\n

reviewed by Neville Cohn<\/h3>\n\n\n\n

Ravel\u2019s Sheherazade doesn\u2019t feature frequently in concert\nprograms. It\u2019s formidably difficult to bring off successfully \u2013 and over the\ndecades, I\u2019ve sat through some sadly deficient accounts of  this masterpiece. But I am happy to say that at\nthe weekend, Ravel\u2019s score flashed into frankly magnificent life.<\/p>\n\n\n\n

At every level, excellence was apparent. Asher Fisch\u2019s\ndirection was beyond reproach \u2013 and the highest praise must go to soprano\nSiobhan Stagg who sounded as if the music had been specially written for her.\nIt abounded in enchanting vocal subtleties and flawlessly shaped phrases. This\nwas artistry of the rarest kind, sonic heaven, an offering that would surely\nhave moved even the grumpiest of concertgoers. I look forward very much to\nlistening to this most impressive soprano again. <\/p>\n\n\n\n

Indeed, just as Mrs Gaskell once so memorably said of\nAnthony Trollope\u2019s novel Framley Parsonage, I wished this performance would go\non forever. And, near-miraculously, even the compulsive clappers who had earlier\nsabotaged Mozart\u2019s Symphony No 40 by bursting into implacable applause between\nmovements, were stunned into respectful silence in the Ravel work – a considerable\nachievement.  I\u2019d gladly have listened to\nSheherazade all over again, not least for choral singing of impressive order. This\nwould be ideal material for a WASO CD. Master flautist Andrew Nicholson was at\nhis persuasive best here. <\/p>\n\n\n\n

Despite the unwanted applause in the symphony, the skill\nwith which Fisch and the WASO presented the inner movements and the finale of\nMozart\u2019s magnificent work, enabled the listener to experience the composer\u2019s\nmiraculous ideas to the nth degree. <\/p>\n\n\n\n

Poulenc\u2019s Stabat Mater is music of a very different stripe.\nIt\u2019s been around for nearly 70 years \u2013 but it will never be numbered among the\ncomposer\u2019s most loved works. This was the first time ever that the WASO had\nprogrammed it. And under Fisch\u2018s direction, the work unfolded near-faultlessly.\nThere was powerful, dramatic treatment of Cujus animam as was the case in Quis est\nhomo. Stagg was at her most powerfully intense in Let me be wounded. Laurels in\nparticular to the WASO Chorus and St George\u2019s Cathedral Consort who sang very\ngently and so clearly in Let my heart burn. This was a most meaningful change of\nmood and a fine contrast to an intensely dramatic Vidit suum.<\/p>\n\n\n\n

\"\"
Siobhan Stagg<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

\"\"
Asher Fisch
<\/figcaption><\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

WASO Chorus\/ St George\u2019s Cathedral Consort Perth Concert Hall reviewed by Neville Cohn Ravel\u2019s Sheherazade doesn\u2019t feature frequently in concert programs. It\u2019s formidably difficult to bring off successfully \u2013 and over the decades, I\u2019ve sat through some sadly deficient accounts<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[3],"tags":[],"class_list":["post-245","post","type-post","status-publish","format-standard","hentry","category-live-performance"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9Yv33-3X","jetpack-related-posts":[{"id":32,"url":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony-orchestra-2\/","url_meta":{"origin":245,"position":0},"title":"W.A Symphony Orchestra","author":"reviewer","date":"March 25, 2018","format":false,"excerpt":"Perth Concert Hall reviewed by Neville Cohn \u00a0 Aristotle had a poor opinion of the flute. \u201cIt does not have a good moral effect. It is too exciting\u201d. But if, through some miracle of time travel, that ancient philosopher had come along to the Concert Hall, I\u2019d like to think\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"Flute","src":"https:\/\/i0.wp.com\/newozartsreview.com\/wp-content\/uploads\/2018\/03\/Andrew-Nicholson_Principal-Flute_preview-226x300.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":144,"url":"https:\/\/ozartsreviewonline.com\/oz\/concert-ray-chen-violin-julien-quentin-piano\/","url_meta":{"origin":245,"position":1},"title":"CONCERT Ray Chen (violin)\u00a0 Julien Quentin (piano)","author":"reviewer","date":"August 27, 2018","format":false,"excerpt":"\u00a0 Perth Concert Hall reviewed by Neville Cohn \u00a0 When Ray Chen puts bow to string, it instantly triggers memories of violin greats: Yehudi Menuhin, Heifetz, Elman in their prime. There is about his playing a seeming effortlessness, a lyricism that places him well to the forefront of the world\u2019s\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"Julian Hargreaves","src":"https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2018\/08\/Credit-Julian-Hargreaves4-200x300.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":133,"url":"https:\/\/ozartsreviewonline.com\/oz\/concert\/","url_meta":{"origin":245,"position":2},"title":"CONCERT","author":"reviewer","date":"August 23, 2018","format":false,"excerpt":"Perth Symphony Orchestra Perth Town Hall reviewed by Neville Cohn \u00a0 What would most office workers do when it\u2019s 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\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"Jessica Gethin and PSO","src":"https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2018\/08\/Jessica-Gethin-and-PSO-CALM-Concert-300x200.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":158,"url":"https:\/\/ozartsreviewonline.com\/oz\/concert-w-a-symphony-orchestra\/","url_meta":{"origin":245,"position":3},"title":"CONCERT W.A.Symphony Orchestra","author":"reviewer","date":"August 31, 2018","format":false,"excerpt":"\u00a0 Perth Concert Hall reviewed by Neville Cohn. \u00a0 Cedric Tiberghien is a highly accomplished pianist. I recall with please his stunningly fine accounts of some of Messiaen\u2019s most complex works at a Perth Festival some years ago. His flawless fingers are up to any challenge \u2013 and this was\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":195,"url":"https:\/\/ozartsreviewonline.com\/oz\/centenary-remembrance-concert\/","url_meta":{"origin":245,"position":4},"title":"Centenary Remembrance Concert","author":"reviewer","date":"November 28, 2018","format":false,"excerpt":"Perth Symphonic Chorus Armistice Choir Perth Philharmonic Orchestra Perth Concert Hall reviewed by Neville Cohn \u00a0 It could not have been a more solemn occasion: a performance devoted to the fallen in World War I exactly one hundred years to the day since the curtain finally came down on a\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ozartsreviewonline.com\/oz\/wp-content\/uploads\/2018\/11\/PSC-4-195x300.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":35,"url":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony\/","url_meta":{"origin":245,"position":5},"title":"W.A. Symphony","author":"reviewer","date":"March 25, 2018","format":false,"excerpt":"Perth Concert Hall reviewed by Neville Cohn \u00a0 There was a near-capacity audience\u00a0 to listen to Veronika Eberle making her WASO debut as soloist in Beethoven\u2019s Violin Concerto. Glamorously gowned in yellow, she played on a Stradivarius violin \u2013 \u00a0known as the \u00a0Dragonetti and dating from 1700 \u2013 on loan\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"Veronika Eberle","src":"https:\/\/i0.wp.com\/newozartsreview.com\/wp-content\/uploads\/2018\/03\/Masters-1_Veronika-Eberle_%C2%A9Felix-Broede_preview-247x300.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/posts\/245","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/comments?post=245"}],"version-history":[{"count":0,"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/posts\/245\/revisions"}],"wp:attachment":[{"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/media?parent=245"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/categories?post=245"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ozartsreviewonline.com\/oz\/wp-json\/wp\/v2\/tags?post=245"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}