Performance: Auckland Philharmonia

Auckland Town Hall

Reviewer: Tara Werner

It seems incredible that when Prokofiev wrote the music for Romeo and Juliet for the Leningrad Kirov Theatre the ballet was to have a happy ending, with Romeo arriving in the nick of time to stave off the impending catastrophe.

Luckily, the tragic ending survived. The resulting score must be one of the most powerful and poignant written for dancers, and the orchestral suite provides musicians an equal chance to prove themselves.

And prove themselves they did last Thursday night. The Auckland Philharmonia's opening concert of the Royal and SunAlliance series had some very special ingredients: a committed conductor and disciplined approach combined with that intangible quality of joie de vivre.

The suite's introductory crashing chords followed by the haughty court music for the Montagues and Capulets were both immediately riveting, with Miguel Harth-Bedoya putting his stamp on a robust interpretation of the entire work.

The sinister portrayal of Tybalt's death and the anguished crypt scene contrasted well with the lightning mood changes of the young Juliet, and the rapturous love duet on the balcony. Every scene had attention to detail in regards to complex rhythmic shifts and pungent orchestration.

It all made Tchaikovsky's lush version of the same story sound a little like a genial tea party in comparison. On this occasion the composer's Capriccio Italien Op 45 also showed the orchestra on its mettle, with a taut yet exuberant performance.

And, given that he has suffered from over-use syndrome in his hands recently, Michael Houstoun nonetheless provided an energetic yet typically elegant interpretation of Ravel's Piano Concerto in D for the Left Hand.

The sumptuously orchestrated one-movement work sometimes overwhelmed the soloist, however, who had a struggle to be heard. But this strangely aloof concerto provided the necessary ballast to both the Tchaikovsky and Prokofiev, giving the concert a satisfying balance.