Review of June 2016 Concert


The June Program of Opera arias sung by a very talented line-up of Auckland University Vocal Students, interspersed with Opera overtures was a huge hit with the big audience.  The feed-back that I got from several sources was that it was the most enjoyable program that they had ever heard from the Orchestra.

The dramatic Mozart Overture to the Magic Flute opened the program with its three declamatory chords, which are repeated at three intervals in the course of the overture.  These are said to be symbolic of the three degrees that a Masonic candidate has to undergo in the ritual of Masonry.  Mozart was an active Mason and throughout the opera there are obvious masonic references in the plot and the part played by various characters, including Sarastro the high priest, and Tamino the novice candidate who has to undergo various trials and tribulations, before he is accepted into the order.  Written at near the end of Mozart’s life he poured all of his skill and passion into the music causing Albert Einstein to comment “that Mozart compressed into this overture all the struggles and victory of mankind.” It was a fitting item to begin the concert and warmed the audience to what was to follow.

Samson Setu opened the vocal content with the well-known Figaro aria “Non piu andrai”.   In this aria Figaro is rather gloatingly comparing the vastly different life that Cherubino will have to lead in the army, compared to his previous service as a pageboy in the service of Count Almaviva.  Setu’s bright baritone voice with ringing resonance suited this aria to perfection, and he acted out the character he was portraying beautifully.    It is incumbent on every singer who sings an aria from an opera in a concert, to deliver the same performance as if he or she were singing it in costume on stage in an actual performance of the opera.  This demands that the character be portrayed in every aspect, and sadly this doesn’t always happen.   On this concert however, every single one of the performers made significant efforts to get “inside” the character of the aria that they were singing.

Gounod’s aria, the Waltz song from “Romeo and Juliet” was the choice of Natasha Wilson and it suited her Soprano voice to perfection.  This is a vocally demanding aria to sing but she met its demands with ease, reeling off the spectacular top notes with great aplomb.   Soprano Clare Hood was next on the program with Olympia’s Doll song from Offenbach’s “Tales Of Hoffman”.   This aria is a real show-piece, and Clare’s dress, deportment and her hand movements conveyed to perfection the automaton doll’s clockwork mechanics.  Her voice was well suited to this aria, and a nice touch was added with the Conductor David Kay winding up the key in her back when she wound down and collapsed forward.  The key winding mechanism sounds were aptly provided by the percussion section in the orchestra.   This performance got spontaneous applause from the audience.

Lalo’s opera Le Roi d’Ys features one of the most beautiful arias in the tenor repertoire, “Vainement ma bien-aimee” and this was sung by Manase Latu.  It is a plea to his beloved bride-to-be to leave her handmaidens and join him in the wedding procession.   Latu’s performance of this aria was quite sublime. He was able to show off his well-trained tenor voice by singing pianissimo on a sustained high note which the audience loved.    His was a performance of an aria that was not just right in character, but it suited his voice perfectly.   He has already had considerable performance experience and scholarship success, and I feel sure will go on to greater heights in future.  We returned to Mozart for the final vocal item in the first half, with the delightful trio from “ Cosi fan tutte” sung by Ben Kubiak (Don Alfonso) , Emma Fussell (Dorabella) and Teresa Wojtowicz (Fiordiligi). In this trio Don Alfonso joins the two fiancees of their men Ferrando and Gugliemo and commiserates with the ladies that their men have been called to war.   This trio was finely performed and the voices were very well balanced.

The first half wound up with Mozart’s mini-symphony No 32. This gave the orchestra and conductor David Kay the opportunity to shine with some fine string playing and delicate phrasing from the wood-wind sections.

The second half opened with an orchestra composition “Ortus” by Jessie Leov  an Auckland based composer who is currently in her third year studying Composition at the University of Auckland.  This piece opened with instruments in the orchestra playing melodic lines that interweaved in a subtle way with pleasant harmony and developed into broader themes with a melody that soared over the harmonies and took precedence.   I have previously commended the Orchestra for programming New Zealand composers, and Jessie Leov’s composition “Ortus” deserves more exposure.

The vocal opera bracket opened with Kayla Collingwood (Mezzo) singing the well-known “Habanera” from Bizet’s   opera Carmen.   In this aria she expounds her philosophy about love in true gipsy fashion, and Kayla gave a very polished performance of this aria.  Her French diction was flawless, and she captured the capricious nature of Carmen well.    She was then joined by Natasha Wilson to perform the Flower Duet from Delibes “Lakme”, and their voices were well matched, in a moving performance.     The Orchestra then gave Johan Strauss’ “Die Fledermaus” overture.  This featured some exquisite string playing and also some sweetly played oboe and it was a joy to hear this very popular overture given such an exciting performance. We then heard the Farewell trio from the same opera with Emma Fussell (Rosalinde):  Manase Latu (Eisenstein) and Teresa Wojtowicz (Adele) in which Eisenstein farewells his wife and maid on the pretext that he is going to prison for seven days when in fact he is going to have a merry romp at a Ball.

The Orchestra then played Verdi’s Overture from “The Force of Destiny”. This starts with three ominous Chords, which is then followed by  crisp runs from the strings which in turn leads into some of the most memorable melodic writing that Verdi ever did.    It traverses many of the main theme tunes that occur in the course of the opera and finishes up grand style.  To conclude the Program all eight singers took the stage to perform Verdi’s Brindisi from La Traviata.   This lively drinking chorus extols the pleasures of alcoholic drink, and life in general.     The program was given rapturous applause.

The next St Matthews Chamber Orchestra concert on the 21st August features conductor Holly Mathieson with the APO concertmaster Andrew Beer as soloist.     Robert O’Hara