Symphony concert

Press, 9 June 1986, Page 4

Symphony concert

New Zealand Symphony Orchestra, with Sarah Walker (mezzo-soprano), conducted by Gyorgy Lehel at the Town Hall Auditorium, Saturday June 7 at 8 p.m. Reviewed by Roger Flury. After Friday’s excellent concert by the New Zealand Symphony Orchestra, the playing on- Saturday failed to reach quite the same heights. Schubert’s “Overture m the Italian Style” proved a mild-mannered opener which, in this performance at least, could not match the source of its inspiration, the overtures of Rossini. It was a relief to find that the mezzo-soprano, Sarah Walker, had survived a whole day of our most inhospitably smoggy weather to perform, ironically, "Nuits d’Ete” by Berlioz. Miss Walker established the mood of each song from the outset by her facial expression. With theg minimum of body, mofenent, she gave the'

impression of a fullyfledged dramatic performance. Like all great artists she is able to make onlookers forget the technical aspects of her art and to draw them directly into the music. Yet there was so much to admire on a technical level — the immaculate breath control, fine legato, evenness throughout her considerable range, and warm tone quality.

With so much fine orchestral detail to be added, the orchestra must have been grateful to have had a soloist so completely in control of her material. After the interval, the orchestra performed Stravinsky’s “Petrouchka” in the version prepared by the composer for publication in 1947. Early critics complained that the music lost all its effect when transferred from the theatre to the concert hall. Although that view is no longer fashionable, there is still an element of truth in it.

The conductor, Gyorgy Lehel, did not go for a flashy performance. His interpretation had a solidity which gave the work a substantial feel. Consequently this "Petrouchka” took a while to warm up. A few slips in the woodwind and brass earlier on took the edge off the performance a little, and it was not until the Final Scene that the playing began to sparkle. Mr Lehel chose to perform the optional loud ending, omitting the death of Petrouchka and the appearance of the puppet’s ghost.

A special word of praise should be reserved for the flute-playing of Richard Giese, and Loretto Cunninghame’s handling of the awkward, but important, piano part.

Let us hope that it will not be too long before Sarah Walker pays us a return. visit. How about Elgar’s "Sea Pictures” next tijjie?