Review: NZSO's Russian Fire

Last updated 09:45 26/05/2014
Alexander Lazarev

ALEXANDER LAZAREV: 'Fascinating' to watch on the podium.

Related Links

Review: Philharmonia performance 'lacking' Review: NZSO with Alexander Lazarev

Relevant offers

Share your news and views

The job market is cruel to graduates The real cost of curtailing free speech Abortion: A tragic response to lack of choice Want equality? Curtail free speech I'm 18 - stop asking me if I want kids My anxiety is called Walter Too many fish in the sea: Why dating apps have ruined dating Poor team unity undoing the Wellington Phoenix Breaking free from my Facebook addiction Christchurch's cathedral conundrum continues

New Zealand Symphony Orchestra (NZSO)

Russian Fire

Auckland Town Hall

May 24, 2014

If the point of a music review is simply to tell the reader whether or not someone enjoyed the concert, then, yes, I enjoyed Saturday's New Zealand Symphony Orchestra (NZSO) concert at the Auckland Town Hall immensely.

And perhaps I should leave it at that.

The problem, in my opinion, is that you are then likely to get asked a whole lot of questions: Why did you like it? What were they playing? Was it all good?

Subtitled Russian Fire, Rachmaninoff's Caprice Bohemien and Shostakovich's Fifteenth Symphony were the evening's highlights against Schumann's Piano Concerto with Russian pianist Alexander Melnikov as soloist.

The Caprice is an early work of Rachmaninoff's and it shows. Full of gypsy colour and musical motifs, it is not as refined as his much later works but shows what understanding of orchestration he had even in his early 20s.

The NZSO gave an electrifyingly energetic performance, actively cajoled by dynamic Russian conductor Alexander Lazarev. If this alone was anything to go by, then it was going to be an excellent concert.

Melnikov is a pianist with a wide-ranging repetoire. Comfortable with period instruments as well as the grand works, he delivered a sensitive rendition of Schumann's piano concerto.

Compared to another concert earlier in the month, the accompaniment from conductor and orchestra was sympathetic and respectful to the soloist. No fire perhaps, but restrained elegance instead and this was warmly received by the Auckland audience.

And so to the second half.

Shostakovich's Fifteenth (and last) symphony is a slightly mysterious work. Some say that the first movement depicts a toy shop with the toys coming alive. Others hypothesise that the circular nature of the symphony depicts the composer's own life.

Shostakovich himself wouldn't say either way, but he certainly indulged in some musical jokes by quoting Rossini's William Tell overture, a snippet from Wagner's Die Walkure and Shostakovich's own works as well. In a letter to a friend, he insisted that he could not not (deliberate double negative) include them.

To me, this performance was as fantastic and memorable as the NZSO's performance of Shostakovich's Seventh Symphony a few years ago.

Maestro Lazarev is as fascinating to watch on the podium as the music is fascinating to listen to. With a conductor completely in control of the musicians, constantly in motion with meticulous attention to detail, the orchestra shone through with a performance that was dynamically balanced, full of vibrancy and colour and which was absolutely captivating.

Ad Feedback

Excellent solos from concertmaster Vesa-Matti Leppanen, principal cellist Andrew Joyce, principal flautist Bridget Douglas and a expanded percussion section added to the quality of the performance.

The very full Town Hall audience gave their thumbs up as did Maestro Lazarev. It was a hard choice to make between going to this concert and Dame Kiri's recital at the Aotea Centre but I think this concert wins by a nose.

View all contributions


Special offers

Featured Promotions

Sponsored Content