{"id":32,"date":"2018-03-25T12:16:11","date_gmt":"2018-03-25T01:16:11","guid":{"rendered":"https:\/\/ozartsreviewonline.com\/oz\/?p=32"},"modified":"2018-06-05T12:22:45","modified_gmt":"2018-06-05T02:22:45","slug":"w-a-symphony-orchestra-2","status":"publish","type":"post","link":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony-orchestra-2\/","title":{"rendered":"W.A Symphony Orchestra"},"content":{"rendered":"
\n

Perth Concert Hall<\/h2>\n

reviewed by Neville Cohn<\/h3>\n

 <\/p>\n

\"Flute\"<\/a><\/p>\n

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 he would have been so impressed by the worth of Nielsen\u2019s Flute Concerto and so charmed by the skill of both soloist and orchestra that he\u2019d made a point of going backstage afterwards to shake the hands of both soloist and conductor\u00a0 \u2013 and ask for their autographs.<\/p>\n

Nielsen\u2019s Flute Concerto is not for faint-hearted flautists. It is ferociously difficult, treacherous at every turn \u2013 and it needs a master of the instrument to reveal its many subtleties.\u00a0 I cannot recall ever before encountering a more exciting account of Nielsen\u2019s work than Andrew Nicholson\u2019s performance at the weekend.<\/p>\n

It was a tour de force by a flautist privy to the concerto\u2019s every secret. And judging from the torrents of applause that broke out at the concerto\u2019s conclusion (as well as, irritatingly, after the first movement), the capacity audience was of like mind.<\/p>\n

Playing his superb, golden flute as if to the manner born, Nicholson reached for the heights with phrase after flawless phrase.<\/p>\n

In turn elfin and insouciant with beautifully spun, sustained trills, flawlessly essayed arabesques and an enchanting aerial buoyancy, Nicholson was consistently impressive. He also had the advantage of a first class accompaniment as Asher Fisch took the players through a dauntingly tricky score.<\/p>\n

Sibelius\u2019 emotionally dark tone poem Tapiola will never head a list of orchestral favourites; it\u2019s very seldom heard in contrast to, say, Finlandia or Pohjola\u2019s Daughter. But it is most certainly worth an occasional airing. Its brooding quality was most meaningfully evoked with strings and brass in impressive form.<\/p>\n

Two days before the 100th<\/sup>\u00a0anniversary of Debussy\u2019s death, we listened to the Master\u2019s<\/p>\n

Nocturnes. I particularly liked the skill with which Fetes was offered, coming across as some wild, exotic dance, music that inflames the imagination. Laurels to the brass section which excelled itself. Earlier, we listened to Nuages (Clouds) \u00a0as Fisch and his forces very impressively evoked its mysterious, eerie atmosphere. It was a feast of sonic impressionism. In Sirenes, sopranos and altos of the WASO Chorus were positioned on what seemed an uncomfortably small on-stage area as we listened to its gentle, wordless singing, very slightly off-key.<\/p>\n

It\u2019s an odd fact that Ravel\u2019s La Valse, that most danceable of works, was rejected by Diaghilev (while impresario for the famed Russian Ballet) because he felt it wasn\u2019t danceable enough! Ravel was so deeply offended, he never spoke to Diaghilev again.<\/p>\n

It was all stops out as Fisch took the WASO on a passionate journey through Ravel\u2019s opus. It was a performance that set the pulse racing. Bravo!<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Perth Concert Hall reviewed by Neville Cohn   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<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[3],"tags":[26,32,18,25,20,29,28,21,30,31,19,24,27,15,23,22,9,8],"class_list":["post-32","post","type-post","status-publish","format-standard","hentry","category-live-performance","tag-andrew-nicholson","tag-asher-fisch","tag-chon","tag-debussy","tag-fisch","tag-flautist","tag-flute","tag-la-valse","tag-neilsen","tag-neilsens-flute-concerto","tag-neville-chon","tag-neville-cohn-cohn","tag-nicholson","tag-perth","tag-perth-concerta-hall","tag-ravel","tag-symphony","tag-waso"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9Yv33-w","jetpack-related-posts":[{"id":47,"url":"https:\/\/ozartsreviewonline.com\/oz\/all-mozart-compilation\/","url_meta":{"origin":32,"position":0},"title":"All-Mozart Compilation","author":"reviewer","date":"August 28, 2017","format":false,"excerpt":"various concerto soloists Symphonies 29, 33 & 35 Concertgebouworkest Eduard van Beinum, conductor Eloquence 482 5525\u00a0 (2CD) TPT: 147\u2019 11\u201d reviewed by Neville Cohn \u00a0 Not the least of the many good things flowing from this re-issue of Philips LP recordings in the compact disc format is making available to\u2026","rel":"","context":"In "Recordings - CDs"","block_context":{"text":"Recordings - CDs","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/recordings-cds\/"},"img":{"alt_text":"Mozart CD Cover","src":"https:\/\/i0.wp.com\/newozartsreview.com\/wp-content\/uploads\/2017\/08\/4825525_MozartSymphonies_Concertos_Beinum_master-300x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":42,"url":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony-orchestra-4\/","url_meta":{"origin":32,"position":1},"title":"W.A. Symphony Orchestra","author":"reviewer","date":"October 18, 2017","format":false,"excerpt":"Perth Concert Hall reviewed by Neville Cohn \u00a0 Vaughan Williams\u2019 Fifth Symphony is seldom heard in this neck of the woods. Prior to the weekend, its most recent performance here was as far back as 1999 when Vernon Handley presided over events. It\u2019s a very welcome return. In less than\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\/06\/concert-814336__340-300x200.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":22,"url":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony-orchestra\/","url_meta":{"origin":32,"position":2},"title":"W.A. Symphony Orchestra","author":"reviewer","date":"April 20, 2018","format":false,"excerpt":"Perth Concert Hall reviewed by Neville Cohn On Saturday, Shostakovich\u2019s Festive Overture was informed by a sense of immense gaiety, an ideal way to launch an orchestral program. Brass calls and woodwinds in fine fettle brought the overture to genial, pulsing life. The joie de vivre that lies at its\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\/04\/sheet-music-277277__340-300x225.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":35,"url":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony\/","url_meta":{"origin":32,"position":3},"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":[]},{"id":40,"url":"https:\/\/ozartsreviewonline.com\/oz\/w-a-symphony-orchestra-3\/","url_meta":{"origin":32,"position":4},"title":"W.A. Symphony Orchestra","author":"reviewer","date":"March 25, 2018","format":false,"excerpt":"Perth Concert Hall review by Neville Cohn \u00a0 I was surprised to read in the printed program that the WASO\u2019s performance at the weekend of Beethoven\u2019s Choral Fantasy was the first time it has been played since 1972. Perhaps one of the reasons for this near-half century absence from its\u2026","rel":"","context":"In "Live Performance"","block_context":{"text":"Live Performance","link":"https:\/\/ozartsreviewonline.com\/oz\/category\/live-performance\/"},"img":{"alt_text":"WA Symphony Orchestra","src":"https:\/\/i0.wp.com\/newozartsreview.com\/wp-content\/uploads\/2018\/03\/west-australian-symphony-orchestra-1-1-300x200.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":32,"position":5},"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. 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