Rae de Lisle, pianist

Press, 2 October 1987, Page 4

Rae de Lisle, pianist

Rae de Lisle, pianist, presented by the Arts Centre of Christchurch, at the Great Hall, October 1, 8 p.m. Reviewed by Philip Norman. In theory, the idea of presenting a visiting artist in both an evening and a lunchtime recital is a good one. In practice, though, as the Arts Centre management are discovering, concertgoers are. voting with their feet overwhelmingly in favour of the lunchtime appearances. The last few Thursday evening recitals at the Great Hall have attracted fewer and fewer customers. If this trend continues, members of the audience will soon be outnumbered by reviewers. The ratio was set at four to one for last evening’s recital by Rae de Lisle. All credit to this Wellington-based pianist, then, for providing a splendidly energetic display of musicianship. Her programme was dispatched with all the intensity and vigour one might expect for a performance to a capacity house. Schumann’s ‘‘Forest Scenes,” Op. 82 opened the recital. These poetic miniatures were intelligently delivered, each shaded with a distinctive touch of tonal colour.

Concert programmes without a work by Beethoven are becoming increasingly

rare. In fact, I find myself looking forward to “Messiah,” if only for a change of diet Rae de Lisle contributed to my overdose of Beethoven’s music with a mercifully lively delivery of Sonata in E flat Op. 31 No. 3. Though the articulation was in places fumbled in the early movements, the work climaxed with a powerful, driving Presto con fuoco. The energy level of this was carried through to a sparkling second-half performance. Beginning with a pungently rhythmed account of Bartok’s Suite Op. 14, Rae de Lisle showed she is clearly a major force In Kiwi keyboard tsHer rendition of “Estampes,” by Debussy, was notable for secure fingerwork and, midst the splashes of exoticism in the writing, an unerring sense of style. Her successful and satisfying recital ended with a beautifully crafted version of “L’lsle Joyeuse.” The momentum established in this work was invigorating. Rae de Lisle plays again at the Great Hall at lunchtime today. The obvious care she has taken in the preparation of her material, not to mention the skill and sensitivity she brings to bear in performance, warrants a sizeable turnout of concertgoers.