The Dunedin Symphony Orchestra enjoyed capacity houses for its performances of Bach and the Birds.
Under James Judd’s leadership the orchestra displayed precise control of the many dynamic ranges demanded by the several works.
The event opened with Telemann’s Don Quixote Suite. Judd’s introduction was something of an overstatement of the work’s dramatic capabilities.
Nevertheless his inspired guidance produced an exquisitely performed Suite sweetly nuanced character dances.
All portray high degrees of elegant control with some wit interjected. The several dynamic shifts between loud and soft were beautifully managed.
Bach’s Brandenburg Concerto No 2 was much improved by having the orchestra standing, or rather dancing.
Instrumentalists enabled to respond fully to their parts refreshes the work overall. Ralph Miller’s agile interpretation of his technically demanding trumpet part was wonderful.
Communication between the four soloists, guest flautist Hye-Won Suh, orchestra leader Tessa Petersen and oboist Nick Cornish highlighted the work’s playfulness.
Rod Biss’ Four New Zealand Bird Songs for string orchestra and soprano is a charming setting of Denys Trussell’s poems.
They observe in fine detail the birds’ individuality and are inspired by the fragility of their existence.
Versatile soprano Rebecca Ryan canvassed a wide range of tempers as Dawning merges into a fragile prayer for tara-iti, the fairy tern, then pivots into a pizzicato scherzo for the pukeko, and finally into a dramatically charged portrayal of the predatory karearea.
The work closes with disappointing perfunctory at dusk.
Haydn’s Symphony No 83, is best known as La Poule, (The Chicken), for its use of a clucking rhythmic pattern. Its opening theme, a grand gambit, was performed impressively and the interchange between parts remained strong.
La Poule’s clucking is relieved by its beautifully languid andante and lithe menuetto and trio.
The Dunedin Symphony Orchestra produced a highly polished performance.
