Swedish delights
Garth Wilshere
Vector Wellington Orchestra, Conductor – Marc Taddei, Soloist – Anne Sofie von Otter (Mezzo Soprano), Wellington Town Hall, November 18, Reviewed by Garth Wilshere
THERE is no doubt that the highlight of this concert was the performance by renowned Swedish Mezzo Soprano Anne Sofie von Otter of a selection of Canteloube’s Chants d’Auvergne (Songs of the Auvergne).
She charmed the audience with her warmth and humour when introducing the songs before her performance, and the chosen excerpts were exquisitely sung.
Von Otter’s elegance, artistry and articulation was a revelation to experience, flowing lines and beautifully crafted phrases, which delicately floated out into the auditorium, even the merest whisper projecting to the back of the hall. This sort of quality of performance is rarely heard, and only from top international singers.
Of the seven chosen songs the opening Bailero (Shepherd’s Song)is always lovely to hear and the playful Lou Coucut (The Cuckoo) which finished the set, was fun and full of tonal colour. Each song was full of nuance and subtlety, seemingly effortless and unforced, a delight to hear.
The Vector Wellington Orchestra under their Director Marc Taddei gave their best here, not perfect and not always in sync with the singer, but good.
Her encore in Swedish with her accompanist, pianist Bengt Forsberg, who had played in the orchestra, was lovely.
With the balance of the programme I wasn’t so happy. The glorious Debussy Prelude to the Afternoon of a Faun missed the pointillistic, languid quality needed in what was a dull, prosaic performance. Where was the colour and personality in the very important wind writing? Taddei just missed what Debussy’s writing demands.
One of my favourite symphonies the Berlioz Symphony Fantastique also missed the mark with too much of the conductor imposed on the score. I wanted to hear the composer’s intentions not the conductor’s, which got in the way of the music, and his podium posturing was distracting and irritating. The opening three movements seemed dull while the last two noisier ones particularly the last movement were whipped up to such a frenzy that the players couldn’t articulate their lines clearly. However the audience seemed to love it.
THERE is no doubt that the highlight of this concert was the performance by renowned Swedish Mezzo Soprano Anne Sofie von Otter of a selection of Canteloube’s Chants d’Auvergne (Songs of the Auvergne).
She charmed the audience with her warmth and humour when introducing the songs before her performance, and the chosen excerpts were exquisitely sung.
Von Otter’s elegance, artistry and articulation was a revelation to experience, flowing lines and beautifully crafted phrases, which delicately floated out into the auditorium, even the merest whisper projecting to the back of the hall. This sort of quality of performance is rarely heard, and only from top international singers.
Of the seven chosen songs the opening Bailero (Shepherd’s Song)is always lovely to hear and the playful Lou Coucut (The Cuckoo) which finished the set, was fun and full of tonal colour. Each song was full of nuance and subtlety, seemingly effortless and unforced, a delight to hear.
The Vector Wellington Orchestra under their Director Marc Taddei gave their best here, not perfect and not always in sync with the singer, but good.
Her encore in Swedish with her accompanist, pianist Bengt Forsberg, who had played in the orchestra, was lovely.
With the balance of the programme I wasn’t so happy. The glorious Debussy Prelude to the Afternoon of a Faun missed the pointillistic, languid quality needed in what was a dull, prosaic performance. Where was the colour and personality in the very important wind writing? Taddei just missed what Debussy’s writing demands.
One of my favourite symphonies the Berlioz Symphony Fantastique also missed the mark with too much of the conductor imposed on the score. I wanted to hear the composer’s intentions not the conductor’s, which got in the way of the music, and his podium posturing was distracting and irritating. The opening three movements seemed dull while the last two noisier ones particularly the last movement were whipped up to such a frenzy that the players couldn’t articulate their lines clearly. However the audience seemed to love it.
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