Broadway sensation Morgan James joined the NZ Symphony Orchestra for its Bernstein at 100 concert.
Broadway sensation Morgan James joined the NZ Symphony Orchestra for its Bernstein at 100 concert.
In two Auckland concerts this month, the New Zealand Symphony Orchestra made a palpable play for populism.
Bernstein at 100, alas, proved to be a rather one-sided birthday celebration for the American composer, featuring Lenny on the light side, with most of the music coming from his Broadway shows.
Didanyone, apart from me, listening to the Symphonic Dances from West Side Story yet again, wonder why we were not given one of Bernstein's three symphonies or the rarely heard and musically adventurous Halil for flute and chamber orchestra?
Denver-based maestro Brett Mitchell proved to be a lively host in his spoken introductions and drove the mighty music machine that is the NZSO with elan. Yet for all that, the Symphonic Suite from On the Waterfront, despite its symphony hall ambitions, does not escape its movie house origins.
Morgan James, in a series of chic dresses and gowns, gave us lively samplings from the Bernstein songbook. Unfortunately, her microphone kept too many words a mystery, especially when she veered from high octane operatic to low-down and bluesy.
It was a shame the musical voyage to sunny Italy didn't encourage sufficient punters out into Auckland's squally weather, meaning that they missed what the programme booklet promised to be a magnificent account of Vivaldi's The Four Seasons.
In fact, it was delightful, re-affirming the perennial pleasures of this piece with its dazzling succession of fires, storms, pastoral contentment and domestic bliss, all rendered in music.
All this was nicely caught by a smaller band of players together with soloist Angelo Xiang Yu, last here when he carried off third prize in the 2011 Michael Hill International Violin Competition.
Yu's lively interaction with conductor Mitchell and the musicians around him was as appealing to the eye as the ear and only occasionally did fluttering ornamentation clutter Vivaldi's lean original.
After interval, the big guns came out. Mitchell took the orchestra for a thrilling ride through Berlioz's Roman Carnival, its bold, idiosyncratic harmonies and scoring emphasising why this composer remains a key figure in 19th century music.
The evening ended by Mitchell presenting Respighi's Pines of Rome as an unashamed musical spectacular. All we needed to do was relax and be dazzled, without worrying too much about what lay behind it.
The ultimate reward was one of the grandest sunrises ever, splendidly assisted by a contingent from the Wellington Brass Band.
