Adelaide Symphony Orchestra. Adelaide Festival Theatre. 7 Nov 2014
For two years in a row the Adelaide Symphony Orchestra has programmed full concerts devoted to the music of Gershwin. Last year in August it was in the form of a Master’s Series concert, featuring signature works such as ‘Rhapsody in Blue’ and ‘Concerto in F’ and ‘An American in Paris’, and this year in the form of a Spectacular Series concert that concentrated on Gerswhin’s prolific output of songs.
Last year I doubted the merits of a Master’s Series concert being given over to the episodic music of Gerswhin, but I have no doubt about the format of tonight’s concert. It was toe-tappingly terrific, and the huge audience in the Festival Theatre just loved it, as they bobbed their heads in time with the infectious rhythms and unique melodies, including the ‘Three Preludes’.
Gershwin’s music has an appeal all of its own and brings different demographics into the concert hall (I note that Gershwin does not feature in next year’s ASO programme, which is appropriate, arguably). Gershin lived a short life – he tragically died in 1937 of a brain tumour when he was only 38 years old – but he was a prolific composer of catchy songs and tunes and his memory will survive for many years to come.
The Festival Theatre stage was swollen with additional instruments; apart from the usual ASO instrumental line-up there was also a grand piano, an enlarged percussion section including a drum kit, rhythm (double) bass, and guitar. Although several of the principal players were away on other assignments, it was pleasing to see the return of Ike See as Guest Concertmaster and several others step up as section leaders or associate principals, including Imants Larsens, Hilary Bruer, Julia Brittain and Cameron Waters. Pleasingly, the mighty ASO has great depth, and it was superbly conducted by the talented American guest conductor Keith Lockhart, who is the conductor of the internationally famed Boston Pops Orchestra (amongst others!).
The music of Gerswhin is quintessentially American: its rhythms and melodies are idiosyncratic; it is jazz inflected; it bears some of the impressionistic hallmarks of Ravel and Debussy. Lockhart was able to imbue the ASO with a clear understanding of what was required to bring these influences to the surface, and the result was a clear reading of the style. Gershwin’s ‘Three Preludes’ were beautifully performed, and the second in C Sharp Minor was a highlight. Ji Won Kim’s performance of Alexander Courage’s arrangement of Gershwin’s ‘Fantasy on Porgy and Bess’ didn’t quite reach the same heights of authenticity of style, although her superlative technique is undeniable.
The second half of the program featured soprano Julie lea Goodwin and bass baritone Rodney Earl Clarke who sang and acted their way through a set of Gershwin’s most iconic songs, including ‘Let’s Call the Whole Thing Off’, ‘A Foggy Day’, ‘The man I Love’ and ‘I Got (Fascinating) Rhythm’. Both Goodwin and especially Clarke have exceptional voices, with Clarke being a seasoned exponent in important roles on the operatic stage. They inhabited the characters of the songs, and their duets were sassy, humorous and sexy. A highlight was Clarke’s performance of ‘Slap that Bass’ alongside ASO bassist David Phillips who demonstrated an alternative, and totally appealing, side of an orchestral player!
The large and diverse audience left very happy.
Kym Clayton
When: Closed
Where: Festival Theatre
Bookings: Closed
