Performance: Taaua

Town Hall

Review: Tara Werner


The New Zealand Symphony Orchestra and Tainui's intentions are entirely laudable, bringing together the traditions of two completely different musical cultures, with the sum being larger than its parts.

First performed as part of the Sydney 2000 Olympic Arts Festival, the concert under the banner of Taaua (we two) offered an exciting opportunity for an innovative fusion of styles.

Instead, it turned out to be a confusing, even confused mix.

Juxtaposing Russian greats such as Tchaikovsky and Mussorgsky against two works by New Zealand composers John Psathas and Gareth Farr was strange in itself.

But merging traditional Maori performing art forms such as waiata, poi, waiata-a-ringa and haka with classical instrumentation ran a risky musical gauntlet that was not convincing, however enthusiastically both parties tried.

Farr's new work Wairua made a valiant attempt at weaving the two traditions together, but it seemed as though the composer was trying just too hard to combine two powerful yet disparate ensembles.

The kapahaka group from Tainui looked at times quite uncomfortable with Farr's South Pacific rhythms, especially with his hallmark Cook Island drumming.

While the work was effectively choreographed and used traditional instruments such as koauau (flute), conch shell and bull-roarer, the work lacked any sense of direction.

In comparison, the Psathas' Fanfare at the start of the concert was more effective, thanks to its simplicity.

The women in their vivid costumes provided a disciplined counterpoint with their poi.

In the meantime, soprano Marie-Adele McArthur, accompanied by Tainui, sang three-well known Maori songs.

Sadly, her fine voice was often swamped by the overly orchestrated accompaniment.

The two European works may have displayed the NZSO's obvious prowess, but even a elegant piece like Ravel's orchestration of Mussorgsky's Pictures at an Exhibition sounded tired.

And while Tchaikovsky's 1812 Overture may have provided the orchestra with the opportunity to make a lot of noise under conductor Matthias Bamert, the work was also misplaced in this context.