KEY POINTS:
REVIEW
What: Auckland Philharmonia Orchestra.
Where: Auckland Town Hall.
Reviewer: William Dart.
The final of the Auckland Philharmonia Orchestra's Splendour of the Baroque series opened with a coup d'orgue: with the orchestra on stage, organist John Wells, seated and ready, burst into Bach's brilliant G major Prelude and Fugue of BWV 5041.
The audience, caught unawares, was transfixed as Wells held nothing back, his body swaying as feet coursed over pedals, eventually firing the Fugue to its spectacular close.
Conductor Roy Goodman entered with his customary flair for the evening's sampling of German music.
There were favourites, like Pachelbel's Kanon and Gigue. The Overture to Handel's Music for the Royal Fireworks swaggered agreeably, peppered with drum rolls and full of rhythmic spring. The composer's Concerto Grosso Opus 3 No 2 was well-proportioned, although the most harmonious solos came from the oboes and bassoon at the back of the group.
Miriam Allan's clear soprano made the newly found Bach aria Alles Mit Gott seem doubly fresh. David Garner added sprightly continuo and, when full strings entered, elegant monochrome was transformed into resplendent Technicolor.
A violino piccolo expertly handled by Luigi De Filippi was a new sound to many and bantered well with Jarratt Rossini's bassoon in a charming Fux Rondeau.
There were also revelations in two extracts from Telemann's Tafelmusik, due to Goodman's coaxing such alert orchestral playing, especially in the "Rejouissance", and two excellent soloists, Kathryn Moorhead and Jennifer Seddon-Mori.
Bach's Magnificat was the major offering, and Goodman set off glorifying the Lord at a breathtaking pace, the orchestra bowling along with remarkable precision and zest. The University of Auckland Chamber Choir was at its most lithe and athletic.
Standing out in the contributions of a solid quintet of soloists were Christopher Saunders' confident Deposuit and the ever beautiful alto singing of Kate Spence, particular in her Esurientes.
Souls uplifted by Bach were rewarded by a more secular encore; another "Rejouissance", this one by Handel, the perfect signing off for a most successful APO series.
