Review: NZSO at Auckland Town Hall

Predictably, the star of last weekend's visit by the New Zealand Symphony Orchestra was Dame Malvina Major, who revealed a rare artistry in a selection of standard operatic fare on Friday and Viennese bonbons on Saturday.

How timely it is to be reminded of just why she has attained the stature that she has.

Certainly, the sparkling "Merce, dilette amiche" from Verdi's I Vespri Siciliani, with which she introduced herself, was a stellar turn, effervescent and elegant in its coloratura.

Three popular Puccini arias, including a warm-voiced "O mio babbino caro", were crowd-pleasers, although "Vissi d'arte" did not sit as comfortably as it might have between singer and orchestra, who needed sharper cues from conductor Tecwyn Evans.

Only in "Casta diva", was there some vocal tension, as Major gracefully explored Bellini's unforgivingly exposed melody.

The concert had been launched with a new commission from Anthony Ritchie, and his French Overture was appropriately titled for its position in the programme. Yet this score proved a less than memorable offering from the composer's fluent and eclectic pen, never quite emerging fully from the shadow of Shostakovich.

After interval, Elgar's First Symphony brought some solid roast beef to the evening. Evans has Elgarian potential and he nailed the "nobilmente e semplice" of its initial theme, coaxed passionate song from the strings in the Adagio and ignited the Finale, even if violins were sometimes struggling to rise over lusty brass.

Saturday's programme offered lighter fare, being a suitably laidback afternoon in Vienna, although Evans' well-groomed Jupiter Symphony seemed just a little unadventurous to ears accustomed to what Rene Jacobs is doing with Mozart.

Evans projects a cool manner on the podium, but drew a zesty Die Fledermaus Overture from his players.

Major followed the Overture by singing the "Czardas" from the same operetta which, although glorious in full flight, sometimes lacked character and audibility in its middle register.

However, the soprano did more than full justice to the creamy beauties of three songs by Lehar and Sieczynski, including a scrumptious "Meine Lippen, sie kussen so heiss". Major positively caressed her lines, as Evans concocted a guilt-inducing orchestral wash behind and occasionally over her.

The final "Vilja" from The Merry Widow was an affectionate gift to loyal fans. It was encored and a rapt audience sang a chorus for its favourite diva. The soprano's exquisite vocal control and nuanced tone on her final note will long live in my memory.