Master Series 8. Adelaide Symphony Orchestra. Adelaide Town Hall. 23 Oct 2015
Bach being Bach, Mendelssohn emulating Bach, and Mendelssohn as himself. An absorbing programming concept for a concert!
Although born some fifty-nine years after Bach’s death, Mendelssohn was greatly influenced by Bach and his sacred oratorio Elijah is surely, as guest conductor Nicholas McGegan put it, “dipped in Bach”. Baritone Andrew Foster-Williams gave a compelling and totally absorbing performance of four arias from Elijah and amply demonstrated why he is one of the finest singers of our time. He also sang arias from Bach’s Christmas Oratorio and the St Matthew Passion. Foster-Williams’ studied concentration and expressive face was matched by that of Associate Principal cello Ewan Bramble, whose animated face vividly underlined the story of Christ’s passion. Foster-Williams and Bramble seemed to be “on the same wavelength”, and it was a thrilling dialogue to witness.
Concertmaster Elizabeth Layton’s solo violin during the Passion (and also during the Air from Bach’s Suite No. 3 in D) was exquisite and served to remind us how fortunate the orchestra is to have an artist of her calibre during the regular concertmaster’s leave of absence.
The concert concluded with what is possibly Mendelssohn’s finest orchestral work – Symphony No.5 in D minor, the Reformation. Its ethereal opening andante is dominated by the woodwinds, celli and bass – the violins are conspicuous by their absence. McGegan controlled it beautifully, and the articulation was razor sharp. In his opening address to the audience, McGegan announced that the ASO would be including a seldom heard short linking section between the third and fourth main movements, and principal flute Geoffrey Collins was again at his best.
At the conclusion of the evening, the applause was generous and deserved.
Kym Clayton
When: 23 Oct
Where: Adelaide Town Hall
Bookings: Closed
