Concert Reviews
Mozartiana - Homage to Genius
Solo Spotlight 2025
Lucy Rainey
REVIEW: The Solo Spotlight concert is a much anticipated biennial event which offers talented young soloists the opportunity to play a movement of a work with the Nelson Symphony Orchestra in the NCMA Auditorium. Tonight’s concert featured a wonderful selection of talented performers: pianist Ozan Biner-McGrath (Dunedin), harpist Jessica MacBrayne (Nelson), cellist Portia Bell (Christchurch), violinist Priscilla Teh (Auckland), cellist Ryan Yeh (Auckland), violinist Eve Lu (Auckland) and violinist Ambrose Tarrant (Wellington). These young performers made an immediate connection with the audience through their exceptional performances, which is quite remarkable when considering their young ages.
This varied concert spanned three centuries and included classical works by Mozart and Cimarosa, romantic works by Schumann and Dvořák, Impressionistic works by Debussy and Pierné and a modern piece, The Butterfly Lovers violin concerto by Chen Gang and He Zhanhao.
The Nelson Symphony Orchestra started the concert with Overture to Oreste by composer Domenico Cimarosa. This composer was the most famous Italian of the 18th century, with more than sixty-five operas as well as instrumental and liturgical music to his credit. The orchestra was ably led by the Guest Conductor Andrew Ward (ex Kings College, London and Birmingham Conservatoire), an experienced conductor of both choirs and orchestras. Under his precise baton this work featured vibrant and joyful playing by the strings interspersed by lovely melodic lines in thewoodwind and brass. Special mention must be made of the delightful oboe solo and the perfectly punctuated timpani in this work. In this performance it was clear to hear that Andrew has a deep understanding of eighteenth century music.
Piano soloist Ozan Biner-McGrath performed a movement from the Piano Concerto in A Minor, Op. 54: 1. Allegro affettuoso by Schumann. Robert Schumann was influenced by his wife Clara Schumann, a virtuoso pianist who inspired him to write for piano solo. This work is his only concerto and it was premiered by Clara in Dresden in 1845, with Robert as conductor.
Ozan gave a soulful interpretation of this movement, from the poignant lyrical lines to the more robust and rhapsodic sections. He listened carefully and interacted with the orchestra and the beautiful melody lines in the clarinet and oboe to create an intense musical conversation. Ozan swept the audience along on fluent waves of sound and his cadenza was beautifully paced with sensitive phrasing and dynamics. In this performance Ozan demonstrated why this work is considered to be a landmark in the evolution of the piano concerto due to its expressive form.
Jessica MacBrayne (Nelson) performed the Konzertstück for Harp and Orchestra, Op. 39 by Gabriel Pierné. French composer Pierné was a prolific composer in many genres, blending the Romantic lyricism of Massenet with the harmonic colours of the French Impressionists. Konzertstück was composed in 1901 and is structured in three seamlessly connected sections: Allegro moderato, Andante, and Allegro scherzando. Written for the eminent harp teacher Alphones Hasselmans, it was premiered in 1903 at a concert in Colonne under Pierné’s baton.
From the very first note Jessica sprinkled fairy dust on the audience with delicate high runs on the harp. She then entered into a dialogue between the harp and orchestra as she demonstrated her skilful dexterity over the entire range of the instrument. She wove a spell over the audience as she plucked the harp strings over the top of the orchestral strings and this was interspersed with colourful woodwind solos. Jessica demonstrated the vibrational energy of her instrument and under her fingers the notes flew away in a flurry of sound.
Portia Bell performed Cello Concerto in B Minor, Op.104 1. Allegro by Antonín Dvořák. This composer wrote his concerto for cello in 1895, having already published nine symphonies but only two concertos, for piano and for violin. The concerto draws on Czech modal inflections and rhythmic patterns and the first movement is composed in expanded sonata form.
Portia played with expressive intensity to create a very exciting performance of this well-loved work and her effortless playing allowed the cello to really “sing”. She demonstrated sound technical proficiency over arpeggiated patterns and she clearly enjoyed the cello conversation with beautifully played solos by the clarinet, oboe, flute and french horn. Portia crafted the melodic contours with sensitivity and she also injected pulsating rhythm where it was required. Her performance confirmed that this concerto is one of the best loved by performers and audiences for its symphonic breadth and seamless integration of soloist and orchestra.
Priscilla Teh performed the Straßburg Violin Concerto K.216, No. 3: Rondeau: Allegro by Wolfgang Amadeus Mozart. This composer composed five violin concertos in 1775 at the age of nineteen while he was lead violinist and occasional soloist at the poorly paid Salzburg Court orchestra. These five violin concertos were written for himself to perform to improve his financial situation.
Priscilla brought energy and sparkle to the third movement of this concerto and she demonstrated what she believes - “that classical music has taught her about diligence and tenacity, and how it blends beauty with precision”. The 3rd movement of the 3rd concerto has an ABACA design and Priscilla played the A section (courtly dance) with elegance, the B section (opera arias) cantabile lines with sensitivity and the C section (jaunty folk-tune) with a strong rhythmic impulse. She entered into a dynamic conversation with the orchestra throughout the movement to give an impressive performance. Priscilla also rewarded the audience with a joyful smile after she had played each section which added to the upbeat mood of the piece.
Ryan Yeh played Hungarian Rhapsody for Cello and string orchestra, Op. 68 by David Popper. This composer studied at the Prague Conservatory and he was a prolific composer of cello music which showcases technical brilliance and the cello’s expressive capabilities. The Hungarian Rhapsody reflects the influence of Liszt and Brahms in his use of the csárdás, a gypsy dance with syncopated rhythms. The Rhapsody is free-form, with lyrical sections showcasing cantabile playing, whilst other passages exhibit increasing virtuosity.
Ryan Yeh gave a compelling performance of this dynamic piece, playing with great energy, rhythm and technical precision. He brought vitality and humour to the gypsy-like dance based tunes and vibrant melodies. Ryan also exhibited virtuosity in his performance of the very fast runs, double stops and spiccato sections. Ryan’s wonderful soaring cello tone and his mastery of the music and its technical demands combined to create a truly memorable performance of this very appealing work.
The Nelson Symphony Orchestra performed an orchestral arrangement of En Bateau from Petite Suite for Orchestra by Claude Debussy (arr. Büsser) An early work for piano for four hands, this work was derived from a poem which describes a languid boat ride in the moonlight. At Debussy’s request, the conductor/composer Büsser orchestrated it in 1907. In this performance the Nelson Symphony Orchestra players created a convincing impressionist painting of a boat on wind-rippled water (a lovely flute solo suggesting a breeze). Arpeggiated accompaniment on the harp provided a sense of rocking motion and pizzicato strings imitated the sound of gently lapping water and small splashes. The piano chords which introduced the piece were then shared around different instruments to create various colours; warmth in the clarinets, brightness in the flutes, roundness/muted tones in the horns. Under Andrew Ward’s capable baton the intimate salon piece of the piano 4 hands was transformed into a cinematic orchestral watercolour.
Eve Lu played the Butterfly Lovers Violin Concerto by Chen Gang and He Zhanhao. This concerto is amongst the most celebrated and influential works of Chinese music, both nationally and internationally. Composed in Shanghai in 1959 it is often referred to as the “Chinese Romeo and Juliet,” as the story follows Zhu Yingtai, a young woman who disguises herself as a man to pursue her studies, and Liang Shanbo, with whom she falls in love. Their romance is ultimately prevented by an arranged marriage, leading to Liang’s death from heartbreak and Zhu’s from grief. At their grave, the lovers are transformed into butterflies, symbolising eternal unity.
Eve performed this romantic piece with poignancy and lyrical expression. Her wonderful singing violin tone and technical facility allowed her to effortlessly “sing” the melodic line of Zhu Yingtai’s theme and the solo flute created a beautiful atmosphere at the beginning and end of the piece. Later on Eve interacted with Liang Shanbo’s theme which entered in the orchestra with solos in the clarinet and bassoon (very musically played). Eve’s many musical attributes came together as we heard her play the expressive arpeggiated runs in the Cadenza section. Eve says that this concerto holds particular personal significance for her by allowing her to connect with her Chinese heritage and to share that cultural identity with others through performance.
Ambrose Tarrant performed the Violin Concerto No. 3 in B Minor, Op. 61: 1. Allegro non troppo by Camille Saint-Saëns. This work, the 3rd violin concerto composed by Saint-Saëns has remained a concert favourite and its melodic invention requires thoughtful interpretation. Saint-Saëns dedicated this work to Pablo de Sarasate who premiered it in Hamburg 1880. Set in classical sonata form, the concerto requires a full Romantic orchestra.
Ambrose played this complex movement with confidence and a fully resonant tone. His flowing melodic lines moved through a series of modulations allowing him to develop dramatic tension between the violin and the orchestra. Ambrose’s sense of rhythm and boundless energy were apparent throughout the piece and it was wonderful to see how much he appeared to enjoy his performance. Ambrose’s sister Claudia plays violin in the London Philharmonic Orchestra and both of her sisters, Sophia and Claudia have played as soloists with the Nelson Symphony Orchestra.
Final Reflections
Every year the standard of the Solo Spotlight soloists rises to an even higher level and we are so lucky to be able to hear these talented young musicians performing here with The Nelson Symphony Orchestra. I am sure that all of the performers, Ozan, Jessica, Portia, Priscilla, Ryan, Eve and Ambrose will have wonderful musical paths ahead of them as they have shown how their natural talent, dedication and passion can come together to inspire audiences and the next generation of young musicians.
I would like to make special mention of the Nelson Symphony Orchestra which was very ably led by Guest Conductor Andrew Ward. The entries were precise and lively, the quality of the tone and balance between the upper and lower strings was lovely to hear and the woodwind, brass and percussion solos were confidently and musically played. My overall impression was of a cohesive musical ensemble working together towards a common goal – to support the wonderful young soloists in the Solo Spotlight 2025 concert. Congratulations to every soloist and every orchestral player for a fabulous and memorable Solo Spotlight 2025 concert.
Solo Spotlight
Saturday September 13 2025
Orchestral Dances
Nelson Symphony Orchestra, conducted by Jason Balla, NCMA, Saturday 22 September, reviewed by Ruth Allison
Conductor Jason Balla, delivered a magical night. A well-thought-out and varied programme of classical dance pieces challenged the orchestra to reach an impressive standard of performance. He wove together an evening of pure pleasure, giving his audience a feast of dance from the romantic arrangement of a Bach chaconne to the exuberant orchestration of a Shostakovich waltz. The orchestra rose to the occasion and responded to his clear, precise instructions, creating a fine musical pulse in all the works.
Jason has imbued the players with the enthusiasm and discipline needed to tackle the demands of such pieces as the overture from Die Fledermaus. Here, dynamic, rhythm and tonal changes from polka to waltz capturing the Viennese musical style, was performed with sparkling assurance. He gave shape to the selections from Swan Lake and chose excellent tempi which gave character to the individual dances, including a well-paced accelerando in the Czardas which ended in a frenzy of violin playing.
There were many opportunities for solo performances which showcased the abundant talent in the orchestra. Some very fine playing from the flute, a suitably melancholic saxophone in the Shostakovich, sensitive performances from the timpani, a buoyant percussion section and a strong brass presence. The Nelson Symphony Orchestra has never sounded so full and exhilarated.
However, I believe the evening belonged to the strings. They were rock solid in their ensemble and passage work under the very able leadership of Fleur Jackson, supporting the rest of the orchestra with confident, intelligent playing and vibrant interpretations of every one of these orchestral dances. They showed their rich-textured playing in the tender reading of the adagio from Spartacus by Khachaturian and in the fine underpinning for the oboe solo in Tchaikowsky. Fleur Jackson’s musical prowess, with the E-string tuned down a half-step, playing the dissonant tri-tone chords, captured the spirit of the strangely haunting Danse Macabre of Saint-Saёns.
Tonight’s audience were beguiled by an energised and cohesive NSO who clearly enjoyed the varied programme of works. They gave their best and the audience were captured. It showed in the enthusiastic clapping and cheers. It is the one thing an audience can do: applaud the musicians who have worked assiduously to entertain them.
Travel Plans
Nelson Symphony Orchestra, with Owen Moriarty, guitar soloist, conducted by Beth Cohen
NCMA Auditorium, Saturday 23rd March, 2024, reviewed by Elizabeth Williams
The programme notes by Bridget Thompson give a very comprehensive analysis which I recommend to all those wishing more technical discussion.
Beth Cohen, our conductor for this most recent production by Nelson Symphony Orchestra, has recently been awarded a PhD from the University of Canterbury for her thesis entitled “Classical music and audience engagement: updating the Bernstein Model”. It really shows! In her introduction before the start of the performance, she described the maturation of plans for this concert since 2000 and the evolution of the theme. While Covid ruled and ruined hopes of holidaying away from home, she realised that travelling musically is a great way to go. “You can be someone else for a while, you can feel other sensations or eat other food”. Throughout the performance, she illustrated these ideas by asking the orchestra to play chords in the styles of different nationalities, a request that the orchestra performed with great gusto! Her own accompanist, her Chihuahua/Fox Terrier dog, performed immaculately.
Beethoven’s “Overture to Fidelio” Beth described as a “Good ole’ beer drinking song, accompanied by chocolate cake and würst”. With the merest hint of diffidence in the opening few notes, the orchestra gave us a delightful picture with highly effective stein-sloshing phrases.
In Fauré’s “Pelleus et Melisande”, Beth observed that although separated by a border, France is “so unbelievably different” to Germany. She likened the music to this tragedy to a vision of "Catherine de Neuve and a glass of wine, the feeling of absolute elegance, of being in love”. Her words exactly described the swooping chords of the strings, albeit with the low warning rumble of the kettle drums in the background. In the second movement the orchestra’s lightness of
touch accompanied by the concert harp truly resembled an airy croquembouche dessert. The charming third movement, so well known that the audience could probably sing along with it, is a gem. But then, so also is that fourth movement, full of foreboding with luscious low woodwind. Gorgeous!
Our travels then took us to Spain - Beth’s comment? “Yippee!”. Owen Moriarty gave us the outstanding gift of Rodrigo’s “Concerto de Aranjuez”and then followed it up with not one but two encores, Miroslav Tadic’s “Macedonian Dance “ and a solo piece by Rodrigo. It is difficult to describe this outstanding performance save to say that it was perfection, both in the soloist’s work and the orchestra’s ensemble playing. For me, the guitar with cor anglais accompaniment in the third movement swept me away to the stratosphere.
“Only the Highest Mountain” by Natalie Hunt brought us back to NZ. A thrilling but short piece with gloriously strange but perfect percussion had me wishing to hear it all over again. The noise of high winds and the bird life in the Southern Alps was so evocative.
Bringing us to her own country, Beth Cohen agreed that the US has problems but that so much of it resembles “All the wonderful things that you used to do as children”. She encouraged the audience to remember the wording from the Declaration of Independence, that the US exists to promote “Life, liberty and the pursuit of happiness’. The opening passages of Copland’s “Appalachian Spring” resembled dawning of presidentially grand ideas, many of which have
been used in cinema accompaniments. The orchestra dived into these massive themes with huge relish, and certainly showed us how to pursue happiness.
The final piece. “Albatross in Flight” by Anthony Ritchie rounded off our world tour, with a captivating visit to a bird sanctuary, in NZ, with an attendant pop group. As Beth said, we New Zealanders “have a certain joyfulness as well”.
The Nelson Symphony continues to thrill us lucky Nelsonians. I am amazed at the skills of the programme planners, of the orchestral players and all the others working behind the scenes on stage and in rehearsals. In particular Beth Cohen thanked Jason Balla for all his work in rehearsing the ensemble but the players themselves need huge congratulations in creating such wonderful music. And to find all these riches outside the major NZ cities verges on the miraculous.
Orchestra more than matches audience's youthful enthusiasm
REVIEW: With a fully engaged and surprisingly youthful and energetic audience, the Nelson Symphony Orchestra under the increasingly assured baton of Costa Simpson, more than rose to the challenge of having to rehearse and perform a diverse range of composers.
Evident too was their enthusiasm and pleasure at accompanying young performers.
What a joyful concert this was. Eight young soloists with guest soloist Natania Ngawhau treated the full auditorium to performances on instruments as eclectic as the saxophone, flute, trombone, cello, violin and piano.
To say nothing of the organ. What a delight to hear that great instrument played with such vitality and control. Taemen Lee made the most of the first movement of John Wells’ Organ Concerto No. 1, producing rhythmic and colourful sounds.
Playing alongside was some great timpani work from Robin Le Couteur.
Before handing over the night to the young performers, the orchestra extracted emotional depth from the playing of Sibelius’ Andante Festivo, capturing some of the richness and majesty of this piece.
His poised playing encompassed a range of emotions from tender to vivacious and the orchestra responded equally especially in the final dying notes. Vincent was followed by Chaminade’s Concertino for Flute.
Tessa Fraser on saxophone completed the first half of the concert.
The second movement of Ibert’s Concertino da Camera provided her with the opportunity to showcase an instrument not normally associated with orchestras. Hers was a convincing recital demonstrating her control over the lyrical first half and the more animated, syncopated rhythms of the second section.
Three very young but very capable pianists took control of the concert after the break.
Leo Liu who is just 13 years old showed a maturity beyond his years with energy and technical wizardry more than enough to make short work of the first movement of Mendelssohn’s Piano Concerto No 1 in G Minor.
Guest soloist Natania Ngawhau executed Launy Grøndahl’s Concerto for Trombone with assurance.
The trombone is a challenging instrument to control but Natania had it well in hand, using the slide to project warm, lyrical tones and ebullient colour. Balancing well with the orchestra she demonstrated her skill and knowledge of the work.
Mana Waiariki ended the concert with a passionate and vigorous first movement of Symphonie Espagnole for Violin by Lalo. In her hands the violin sparkled and danced a flamenco and received a well-deserved audience roar of approval.
This is a wonderful innovation: to invite young musicians to perform with an orchestra. Having just returned from the Michael Hill Violin Competitions, I have no hesitation in declaring that classical music is in the best of young hands. It is exciting to think that the Nelson Symphony Orchestra is doing its part in promoting similar New Zealand talent.
Solo Spotlight, Nelson Symphony Orchestra, Natania Ngawhau trombone and invited musicians, conducted by Costa Simpson, NCMA auditorium, June 24, reviewed by Ruth Allison
The Rule of Three
Nelson Symphony Orchestra and the NZTrio, conducted by James Donaldson,
NCMA Auditorium, Saturday 30th September 2023, reviewed by Ruth Allison
The Rule of Three revolves around the observation that ideas given in threes are especially interesting and memorable to an audience. This was no more evident than in tonight’s concert starring the indomitable NZTrio, ably supported by a stellar performance from the NSO and tightly conducted by Maestro Donaldson: the three rulers perhaps?
Programming a concert with such a theme in mind helped the audience to not only understand the concept but gave them the opportunity to see so many variations of the number three. Three composers, three compositions with three movements and three brilliant soloists. Star of the evening by far and judging from the audience response was New Zealander Gareth Farr’s Triple Concerto. This was a dynamic performance from start to finish requiring virtuosic performances from the piano, cello and violin. Somi Kim’s piano playing is electric. It is strong, rhythmical and sensitive all at once. Ashley Brown on cello produces a spectacular range of expression and Amalia Hall’s violin playing is exquisite. The orchestra threw themselves into the pounding rhythms with enthusiasm and an urgency required to keep up with the soloists. It was a treat to see the woodwind, a tuba, a vibraphone and the brass section take front row billing. The orchestra has never been better.
The concert opened with Ukrainian composer Myroslav Skoryk’s simple but beautiful Melody played with sensitive feeling by the orchestra, giving the audience time to reflect on the current horrors being played out in Europe. This was followed by Skoryk’s Hutsul Triptych, a theatrical piece composed for a film. The three-part composition of Childhood,
Romance and Death highlights the colourful, rhythmically propulsive folk music of ethnic Ukraine. The orchestra was in its element, effortlessly capturing the narrative with some beautiful playing by flutes and terrific work from the timpani.
Beethoven’s Concerto for Violin, Cello and Piano, the Triple Concerto gave the NZTrio an opportunity to showcase the individual brilliance of its members. Together they created a rich, grand work with a particularly beautiful brief slow movement. The orchestra, accompanied with dignity, producing some generous tones from the string sections.
Congratulations to all. The NSO must be proud of their achievements so far this year. They have undertaken a demanding and varied programme and have risen to the challenge. This concert was indeed interesting and memorable.
Last Night at the Proms a musical 'treat'
REVIEW: Bad luck to those who missed these two concerts by the Nelson Symphony Orchestra held at the NCMA and conducted by Nigel Weeks.
"Last Night at the Proms" was such a treat.
From the moment we stepped into the foyer at NCMA, we were captivated by the air of festivity as we received our flags, hooters and party poppers which were to be an essential part of the second half of the concert.
It was a full house, a full and generous programme, a full orchestra and a fully satisfied audience.
The Concert opened with the English Folksong Suite by Ralph Vaughn Williams. This was played with great clarity and precision and offered plenty of opportunity for each section of the orchestra to shine. A rich, full sonority of orchestral timbres was achieved and the beautiful interpretation of well known folk songs set the scene for the programme which followed,
The performance of the first movement of the Grieg Piano Concerto by young pianist Louis Lucas Perry and orchestra had the audience holding their breath. During the Cadenza Louis displayed his virtuosity with outstanding technical ability and sustained a secure approach throughout the movement. This was such an achievement from such a young pianist.
Percy Grainger's well- loved Country Gardens was next on the programme and offered a chance to relax after the demanding Grieg. The xylophone played confidently by Flutist Annabelle Laing added lightness to the orchestral sound.
Perhaps the most moving item in the programme was the stunning performance of Massenet's Meditation played by violinist Juliet Ayers and accompanied by the orchestra. Juliet has the sensitivity and the maturity to interpret this operatic, symphonic Intermezzo with all the romantic style and technique it requires and she performed it beautifully.
We returned to England's most patriotic composer Edward Elgar for a lovely rendition of Salut d'amour, Op12. The orchestra performed this work beautifully with all the tenderness and love Elgar must have felt when he composed it as an engagement present for his future wife.
Then to complete the first half of the concert the audience were invited to sing Hubert Parry's best known work, Jerusalem, with the orchestra, which sparkled with stunning brass effects and brilliant percussion. Conductor Nigel Weeks was in his element and encouraged an excellent response from the flag waving singers.
The second half began with the demanding Le Carnaval Romain Op 9.
The three songs sung by Auckland soloist Ben Kubiak were full of musical character and expertise. Ben's glorious bass voice was fully exploited in the choice of songs: Toreador Song, from Carmen, Ol Man River and If I were a Rich Man. The rapport between conductor and ex- student was delightful and added to the enjoyment of the performance.
Then to bring us back to the English context the Orchestra played Fantasia on British Sea Songs arranged by Sir Henry Wood which has been an indispensable item at the BBC's Last Night of the Proms and involved audience participation in the form of hooters, party poppers, much flag waving and dancing on the spot by the conductor.
Finally the programme came to a close with the much loved and stirring Pomp and Circumstance March in D Op 39 No 1.
Well done NSO for a wonderful programme of beautifully executed works. Congratulations to all the hard working and talented musicians and to Nigel Weeks for bringing together such musical brilliance and generosity.
The Nelson Symphony Orchestra needs our financial support. It is one of Nelson's most significant cultural treasures and justifies both private and public sector partnership funding to secure its future. Lets make that happen.
Last Night at the Proms
Saturday September 21 and Sunday September 22.
Stuff
Nelson Symphony performance richly orchestrated with delicate, sacred sounds
REVIEW: This was the most exciting and innovative concert that I have heard the Nelson Symphony perform.
The show on Saturday night was put together by James Donaldson who has vast experience of musical performance as a professional cellist and music psychologist.
He shares his energy and communicates so well with other musicians.
His opening overture was composed by a musical friend from Auckland, Chris Adams.
It was entitled "Elegy(for a World Obsessed with Violence)" and communicated the fearful effect of the events in New York on September 11, 2001.
It was richly orchestrated and held my ears in sharp focus.
Full of tension and anticipation with ominous deep drum rolls, discordant woodwind and full, sonorous climax from strings and brass.
Particularly affecting were the intrusive military rhythms on snare drum and timpani, the cymbals clashing, and the sustained tension between the sections of the orchestra.
A dramatic and convincing contemporary elegy.
Then followed three individual soloists, two playing well-known virtuosic violin concertos by Mendelssohn and Max Bruch, and one playing Russian Glazunov's Saxophone Concerto.
All three of these undergraduate soloists had auditioned from Wellington.
The first, Hayden Nichol came from a Samoan family.
He played the notoriously difficult 1st movement of Mendelssohn's Violin Concerto in E Minor with great technical control and expressive fullness of tone.
Donaldson held together an exciting ensemble. The string section truly excelled themselves.
The saxophonist, Peter Liley, was sensationally good.
He played with wonderful energy and amazing breath control, bringing out the lyrical romanticism and full singing tone of Glazunov's Concerto.
The audience were enraptured and gave a standing ovation.
Sixteen-year-old Peter Gjelsten then performed a movement from Max Bruch's popular Violin Concerto No 1.
After a faltering start from the violas, Gjellsten played with a lot of nervous tension.
His timing was erratic, almost too fast in the challenging runs, and intonation was uneven.
Perhaps such a demanding work needs a few more years' experience.
The highlight of the concert for me was the concerto for Taonga Puoro and orchestra "Ko te tetai whetu" (For the constellation of stars) composed by Ariana Tikao and Philip Brownlee.
This was a moving collaboration by both composers and Bob Bickerton. Ariana has an other-worldly beauty, singing with purity and spirit.
Bob Bickerton, clad in a korowai, began with the whirring wind of the porotiti, while Ariana tapped out sounds of nature on a tumu of pounamu.
Many subtle responses were heard from the xylophone, timpani and gentle tapping of natural stones.
The organ was lit up in sky blue. Eerie harmonics and bird sounds escaped from flutes and violins.
The trombones blasted forth. Bickerton and Ariana serenaded with the conch shell putatara, then faded with the kouaua (flute) to the sensuous flutter of a shell necklace.
Never have I heard such enchanting music in the NCMA, recognisable to all - the sounds of wind and sea, of birds and the human voice in harmony.
Delicate sacred sounds from our environment.
No programme of Aotearoa music could be complete without the music of Douglas Lilburn, and the concert ended with his Festival Overture.
This was excellently and exuberantly performed, though I would have preferred to leave the concert with the peaceful beauty of the taonga puoro.
Congratulations, James Donaldson. This was an adventurous concert embracing both European and Māori music.
Stuff
A rollicking, moving musical ride
Snadden Jenny
Carmina Burana
Nelson Civic Choir, Nelson Symphony Orchestra and Nayland College Girls' Choir
Nelson College, May 19
A capacity audience filled Nelson College Hall to hear the enduringly popular Carmina Burana, presented by the Nelson Civic Choir, Nelson Symphony Orchestra, Nayland College Girls' Choir and soloists. And what an afternoon for sheer exuberance and joyous music- making that ended in a standing ovation from delighted listeners.
From the first spine-chilling thump of the great drum announcing O fortuna, the choir, orchestra and soloists took us on an exciting journey of musical challenges that were well met and at times deeply moving.
In an inspired coupling, the recital began with Carl Orff's English contemporary Ralph Vaughan Williams' setting of the well-known hymn Let all the world in every corner sing (Antiphon from his 5 Mystical Songs), which gave the audience a first exciting taste of things to come.
Then came his Dona Nobis Pacem, with its densely chromatic writing for both orchestra, soloists and choir, which spoke of the composer's heartsick plea for peace whilst World War II was looming. Soprano Lilia Carpinelli's glorious solo lines soared over the choir and orchestra with effortless beauty, and the baritone recitatives were suitably sombre.
I was brought to tears at the end of Dirge for two veterans, showing that the score's undoubted challenges for singers had been turned into purely affecting sound.
The audience was ready for the very different atmosphere of Carmina Burana, knowing they were in for a rollicking ride through a medieval playbook of pagan toasts to the seasons, to love and lust, drinking, feasting and the sins of the flesh, along with glorious intervals of courtly love song. Our orchestra, choir and soloists did not disappoint, with all the familiar numbers tackled with great energy and obvious enthusiasm.
Occasionally, the exuberance of an orchestra at full tilt almost overpowered the gallant choir, whose entries were at times a little tentative, but they would regroup and impress us again with a sheer wall of sound punching through the full orchestra.
It was exhilarating to hear the complex percussion and woodwind adding to the mix, and again, Carpinelli's beautifully operatic soprano solos delighted.
Baritone Graeme O'Brien had to negotiate Orff's big challenges for that part, making him leap through registers that verged on falsetto at times growling down to bass, but his excellent diction kept the narrative flowing - and of course the Roasting Swan, sung by tenor Ian Tetley, delighted the keenly anticipating audience with its clever posturing, which hid superb vocal control.
The final effect of the combined musical forces brought us a magnificent afternoon of music-making, all under the experienced baton of conductor Nigel Weeks, who is to be congratulated on bringing such a vibrant programme to fruition.
Orchestra's first outing an ambitious show-stopper that thrilled the Nelson faithful
REVIEW: Nelson concert lovers were privileged to attend the first concert of the year by the Nelson Symphony Orchestra, on Saturday evening at the NCMA.
Conducted by the hugely capable Nigel Weeks, the orchestra presented an ambitious programme of Dvorak masterpieces. Slavonic Dance No 1 Op 46, Cello Concerto Op 104, soloist Rolf Gjelsten, and Symphony No 9, Op 95 'From the New World.'
These much loved and well known, monumental works reflect all the characteristics of music from the Romantic period ... full orchestration, beautiful melodies, dramatic dynamics and emotional narrative.
Dvorak's brilliant orchestration exploits all sections of the orchestra and tonight every section, including the percussion, responded to the demands of the works and conductor, with confidence and accuracy.
Accolades must go to the woodwind section. The precise and rhythmic interpretation and the beautiful timbres contrasted and blended, were very well achieved and added substantially to the rich textures of the works.
And again when playing with the soloist Rolf Gjelsten they sympathetically and lyrically interacted but never over shadowed. (I would have loved to have been able to see the flutes and French horn).
The String Section was also impressive and reliable with the competent choir of cellos and bases underpinning the harmonies and melodies especially in the 'New World'
The Brass section displayed real virtuosity and added such colour to the orchestral sound but unfortunately in our acoustically perfect auditorium they were just too loud and often prevented a satisfactory solo/tutti balance being achieved.
It was lovely to hear soloist Rolf Gjelsten of the New Zealand String Quartet playing the Cello Concerto. This Concerto must be one of the ultimate goals, along with the 6 Bach cello suites, for any virtuoso cellist's repertoire.
Rolf performed this work with deep commitment and technical security. He demonstrated the musicality of a life long career of professional music making and his interpretation of the gorgeous themes and dramatic episodes conveyed all the yearning Dvorak felt for his homeland when resident in USA.
After the final notes of the third movement the audience leapt to their feet and gave Rolf a well-deserved ovation, acknowledging his mastery of this demanding work.
The orchestra accompanied with impressive dexterity and attention to dynamics and rhythmic accuracy but at times was overpowering and we missed some of Rolf's virtuostic sections.
I am not sure that the repositioning of the cellos to centre stage and the 2nd violins to stage left worked acoustically or visually.
The cellos seemed very squashed into a rather confined space and the front-on view was odd. The partnership required between the cellos and double basses and the violins must surely be enhanced when placed adjacently.
Perhaps a full programme of Dvorak with such massive orchestral forces required, is debatable from the audiences' and musicians' point of view and a smaller ensemble item might have been more appropriate.
However, as Selwyn Light, Chair of the Orchestra, suggested, "all we had to do was to sit back in our lovely comfortable seats and enjoy the ride" and we certainly did!
Congratulations NSO. Nelson is so fortunate to have you.
We look forward to your next concert Carmina Burana by Carl Off at Nelson College on May 19, 2.00pm.
Stuff