Adelaide Symphony Orchestra. Adelaide Town Hall. 29 Nov 2024
The Adelaide Symphony Orchestra’s final Symphony Series concert was ….. titanic! The drawcard on the program was Mahler’s Symphony No. 1 in D, known as the “Titan”, but there was much other glorious music on offer as well.
As is now customary, the concert began with Pudnanthi Padninthi – a musical Acknowledgment of Country – and tonight it was performed without the conductor’s oversight. The mighty Adelaide Symphony Orchestra knows this contemporary piece backwards and inside out but continues to imbue it with a sense of freshness. The band doesn’t merely play the notes: the score means something to them, and they have license to exercise their own interpretation. It’s special.
Guest conductor Keitaro Harada then strode to the stage resplendent in black tails, crisp white evening shirt, highly polished black patent leather shoes, and bright red socks. According to his social media, Harada wears the red socks for a solemn reason – to honour of one of his family members who has passed away. Still, the visuals create a sense of expectation and excitement about what is to follow, andthe audience is not disappointed. Harada’s musical interpretations and consequential conducting style is vibrant, sometimes novel, and always exciting.
This reviewer adores Mahler and over the years has enjoyed listening to many recordings and live performances of all the Mahler symphonies and remembers Arvo Volmer’s full cycle with the ASO with much affection. But listening to Harada’s reading of the Titan is like hearing it for the first time, and this is exactly how it should be. In his excellent book “Why Mahler?”, well known music commentator Norman Lebrecht opines that “The first truth in Mahler interpretation is that there are no absolutes, no hard and fast rules”. Indeed, Mahler himself frequently revised his own scores and annotated them with descriptions of how they could/should be interpreted, but these changed. Arguably Harada is of the same mind as Lebrecht, and the result is quite astonishing. The overall duration is ‘about standard’ but one senses some sections are quicker, ‘punchier’ and have more ‘attitude’ than usual, while others are slower and more keenly articulated. For example, the enunciation at the start of the second movement was dramatic, and Harada’s gesture was blatant and as he punched and pushed the air. The string principals in particular confirmed Harada’s intentions, none more so than violist Justin Julian who urged his section with controlled passion and demonstrable attitude. The third movement saw Harada almost outline the steps on his podium to a march as the double basses introduced the thematic material, which is a nod to Frère Jacques. The final moments of the last movement see the full horn section standing with the bells of their instruments unmuted and firmly directed at the audience, with Harada almost defying them to blow down the walls of the packed Adelaide Town Hall. The final note saw the audience erupt into zealous, almost adoring applause which was sustained with foot stamping, wolf whistles and cheering. An art music mosh pit! Just wonderful, and the looks of sheer delight on the faces of the members of the orchestra was heart-warming. Harada was presented with the customary large bouquet of gorgeous flowers from Tynte Flowers, but he gave them to tutti violinist Ann Axelby who is about to retire from the ASO. A fitting and touching gesture. Thank you, Ann!
To this reviewer’s ear, Lebrecht’s “truth” doesn’t apply to the Mendelssohn Violin Concerto in E minor, Op.64, which was the main work in the first half of the program, but Harada initially insisted on a ‘big sound’ in the first movement prior to the sublime cadenza from the soloist Kate Suthers (who is usually the ASO’s concertmaster). Suthers was at risk of being overpowered but it somehow worked. Her performance of the first movement cadenza was just exquisite: beautiful, sweet tones with almost no vibrato to speak of; well thought-out dynamics in the context of the progression of the entire work; almost ethereal pianissimos, and unpretentious fortissimos. The understanding between Harada and Suthers was on show. On occasions they looked intently at each other, a smile here, a quick laugh (almost!) there. At the end of the concerto, they hugged with affection, and the audience lapped it up. Adelaide audiences love it when one of their own is a featured artist, and Suthers was almost drowned in enthusiastic applause. The audience was invited to do so by Harada who, with a clear hand gesture, encouraged them to ‘give it up’ again and again, and he was obliged. Suthers was humbled by the attention – she needn’t be – and simply said ‘thanks’ as she led the principal string players (except the bass) in a sweet lullaby encore.
Early in the concert the audience was treated to an Australian première performance of British composer Ruth Gipps’ Death on the Pale Horse, Op. 25. It was written in 1943, and is a joy to hear, even though it has taken eighty years to be performed by an Australian orchestra. Knowing that the piece was inspired by a famous painting depicting an horrific battle scene, many of its musical phrases – especial on horn and oboe – force one to become contemplative about the waste that is war. The piece should be heard more often.
This reviewer has made much mention of the conductor, and for good reason. Keitaro Harada is young (he’s only forty next February), he’s accomplished and recognised internationally, and he’s exciting. His musical interpretations are distinctive, and although he gives the music primacy, as he should, he’s also an entertainer at heart and is unafraid of being so on the podium. He’s one to watch, and one that the next generation of musicians and conductors can and should learn from.
The ASO’s management and programmers have come up trumps with this concert, and it can be enjoyed again on Friday 14 December on ABC Classic radio. This reviewer will certainly be tuning in.
Kym Clayton
When: 29 Nov
Where: Adelaide Town Hall
Bookings: Closed
