Chamber Orchestra

Press, 1 May 1989, Page 6

Chamber Orchestra

The New Zealand Chamber Orchestra, musical director Donald Armstrong, at the James Hay Theatre, April 30, 8 p.m. Reviewed by Philip Norman. The last time I heard the New Zealand Chamber Orchestra, it played to a capacity house at the Great Hall. This time, it played to a capacity house at the James Hay Theatre.

This tripling of audience support reflects the mushrooming stature of the ensemble. In the mere two years since its formation, the N.Z.C.O. has developed a deserved reputation as a quality performing body.

On this occasion, the increased patronage also reflected the local level of interest in one of Christchurch’s distinguished musical daughters, the violinist, Belinda Bunt.

Now based in London, where she works as a recitalist, concerto soloist and guest leader of various chamber ensembles, Belinda Bunt appeared as a soloist with the N.Z.C.O. in a reading of Vivaldi’s "The Four Seasons.” Even though I have been filled-to the eyeballs with the Red Priest’s music this month (including a performance of “Summer”), I was still moved by the serenity of Bunt’s delivery. Her lines were articulated with seemingly little

effort, yet appeared with clarity and confidence.

Hers is not a big tone, but it is a singing one. It filled the theatre in what was an accurate and sensitive interpretation of the four concerti.

From the N.Z.C.O.’s perspective, “The Four Seasons” provided some of the least comfortable moments of the evening. I suspect the tedium of having waited all day in Wellington Airport for fair flying weather (the concert was late starting as a result) began to take its toll. Rare rhythmic roughness crept occasionally into the ensemble’s accompanying sound.

I use the word rare, because throughout the first half of the recital, the orchestra performed with commendable precision and vitality.

Grieg’s neo-Baroque "Holberg Suite” was parcelled in warm tones and dispatched with accuracy and charm. A bouquet to the New Zealand Chamber Orchestra for including a New Zealand composition in its programme, but a brickbat to the composer, Lyell Cresswell, for his devising of such antisocial sounds in “The Pumpkin Massacre” (inspired by a bloodthirsty incident in Maori history).