Homage to Sibelius 150 – Solozobova, Perry So #ConcertReview

Reviewed by Andrew Wilding

Cape Town Philharmonic Orchestra, City Hall, Thursday 29 January 2015
Conductor: Perry So
Soloist: Maria Solozobova

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“Finlandia” op. 28
Were he alive today, Jean Sibelius would celebrate his 150th birthday on Tuesday 8 December this year, which seems quite a good excuse for an all Sibelius bill, not that any excuse is needed. I was delighted by the selection, as were many other back-seat conductors I noticed sitting in the balcony. The overture had the feeling of a show-piece, demonstrating a dramatic contrast in dynamics and tempo. The composer’s beloved brass section was very much in the spotlight for the evening, beginning with their clearly spoken entry and slightly terrifying swells. The tempo in the first section was sober and respectful, almost funereal, forming a stark comparison to the second section which I felt was more pacey than usual, making for a more exciting overall effect. The winds were gorgeous, perfectly synchronised and beautifully phrased.

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Maria Solozobova after performing the Sibelius violin concerto

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Violin concerto in D minor op. 47
The violins fabricated a seamless immaculate misty lake, into which the soloist floated, her graceful right arm seeming to defy gravity, and such a warm resonance coming from her instrument. Her interpretation was quite unique, with unusual emphasis in the arpeggios and an appropriate lilt in her rhythm. The virtuosic Paganini caprice no. 24 encore impressively demonstrated her ability and technical skill.

 

Perry So and Cape Town Philharmonic Orchestra after the symphony

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Symphony no. 2 in D minor op.43
This is a highly challenging symphony – bewildering syncopation with melodic rhythms often off the beat; surprise entries; quick unforgiving ppp passages – and therefore, a successful performance is rare and spectacular when it occurs. Equal accolade is deserved by every member of the CTPO and conductor Perry So, for achieving the rendering that we heard last Thursday. It was very close to Beecham, but without the shouting. This composer is so unique, his part arrangement unlike any other, and although there are sounds of giants like Wagner and Tchaikovsky, there are long passages where no reference can be be heard to the world of Viennese or Russian composing. Both So and Beecham seem to have a deep understanding of the composer, of the subtleties of the anticlimaxes, the slowly building ground-swell of brass, the feeling of the climaxes, like climbing a mountain and topping out, when the magnificence of it all comes into view. Basses and celli were spell-masters beginning the 2nd movement, weaving the entrance into the underworld, very Isle of the Dead! As with Finlandia, we heard an exciting tempo contrast from the 2nd into the 3rd movement – a scorcher, very technical for the whole orchestra, and the finale was a total endorphine rush. The accurate interpretation and competent performance of a great work reveals its innate ability to elevate those who are open to it, like Mahidhara’s Rachmaninov two weeks ago, and I felt that this was again achieved by So and the Cape Town Philharmonic last week. This has always been one of those works that leaves me wondering how the composer express such powerful and recognisable emotions that describe the entire human experience, so that long after the sound has faded, the audience can have a feeling of having being shown all that is. The thought in my mind that sustained through the applause was “How does he know?”

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View more photos of the concert here

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Book now for next Thursday: Maestro Bernhard Gueller returns!
Respighi “Fountains of Rome” and “Pines of Rome”
Shostakovich piano concerto no 1 – Natalia Lavrova, pinao
Haydn symphony no 83 “La Poule”

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Rachmaninov, Ndodana-Breen, Prokoviev – Mahidhara, Lehobye, So, CTPO

Reviewed by Andrew Wilding

Conductor: Perry So, Cape Town Philharmonic Orchestra
City Hall, Thursday 22 October 2015

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Soprano Goitsemang Lehobye after the scintillating world première of Three Orchestral Songs on Poems by Ingrid Jonker, composed by Bongani Ndodana-Breen

Ndodana-Breen – Three Orchestral Songs on Poems by Ingrid Jonker (world première)
Soprano: Goitsemang Lehobye

After the long hiatus from symphony concerts it was exhilarating to be greeted with a delicious mix of atmospheric mystery and primordial reptilian percussion. Soprano Lehobye held the space excellently – powerful projection of her lower register and timely use of her full capacity in the climaxes. Ndodana-Breen’s first poem has an air Puccini, Hindemith, and Southern African traditional instruments and scales. His second poem demonstrates a glorious extended romantic lyricism and beautiful ensemble work, particularly soprano and cello. The third poem is a busy, richly scored tapestry with impressively subtle ever-present percussion. Three Orchestral Songs on Poems by Ingrid Jonker enjoyed a resounding and successful première performance, and I look forward to hearing it again soon.

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Pallavi Mahidhara after the Rachmaninov, with Perry So

Rachmaninov – Piano Concerto No. 2
Piano: Pallavi Mahidhara

Concerti are complicated beasts – for every impressively dexterous pianist who’s fingers move inaudibly, sound evaporating into the air of the City Hall, there is one who hacks and clangs rough-shod, headless and headstrong. With such a concerto as this, it was to my significant relief to hear in the opening bars, the evident power in Mahidhara’s left pinky finger, coupled with an ensuing sensitivity that balanced her sound exquisitely. Her sensitivity was continuous in the ensemble passages, maintaining eye contact with the players and being very much part of them as opposed to in front of them. Her occasional pounce at the end of a phrase to lift it from the swelling tide of the orchestra; her tiger-like staccato, fiery, impassioned, regal; her cool sensual lyricism; and her narrative dynamic control over sumptuous melodies and gorgeous rippling accompaniments, identify her as an intensely individualistic performer with amazing technique and strength. I found her interpretation refreshingly Rachmaninovian – in his own performances he doesn’t “put a lot on it”. He avoids melodrama, it’s actually quite understated, and this brings a wonderful clarity to his melody structures and harmonic progressions. I had the distinct impression that Mahidhara’s intention was to play this work as it had been conceived.

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Perry So after performing the Prokofiev Symphony no.7

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Prokofiev – Symphony no. 7

Finding it necessary to congratulate conductor Perry So after the concert for its overall success, and particularly on the balance he achieved with Prokofiev’s unexpected coupling of instruments in the symphony, we agreed that the voicing is somewhat odd! Prokofiev is known for his unusual orchestration, favouring percussion, and the darker rattling tones of the brass section (thanks Ryan Kierman and his bass trombone). I liked that So’s interpretation acknowledged the novelty, for example lifting the tuba (Shaun Williams) out of the harmony and spotlighting the part. Brass and horns played exceptionally, in stunning rich tones. Slavomir Mrazik and Ryan van der Rheede on trombones were absolutely jaw-dropping with a section of widely spaced arpeggios – must be a great piece for auditions. The orchestra was synchronously dexterous and rhythmically tight, in rendering Prokofiev’s percussive staccato style. As conductor So unfolded the climax, flower-like, he revealed ever brighter and more wonderful layers, building the intensity – resplendent trumpet playing by Paul Chandler, Pierre Schuster, and David Thompson.

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If you missed this concert, book now for Thurs 28!

Its going to be another humdinger!

SIBELIUS – VIOLIN CONCERTO – 2ND SYMPHONY – FINLANDIA

Conductor Perry So returns with violinist Maria Solozobova

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