(Victor
Yampolsky)
Throughout last night’s concert there was a warmth
evident between conductor, leader and orchestra, all which led to convincing
interpretations. (Review by Andrew-John Bethke)
Schumann’s Fourth Symphony seems to have
been an experimental excursion which tested the symphonic form with new
compositional possibilities, while steering clear of the shadows of Beethoven’s
colossal third and ninth symphonic statements. It is a work full of surprising
melodic, harmonic and formal elements which offers an open window into the
turbulent and complex soul of its composer.
The question is, how can such a work be
interpreted and performed to display its inherent qualities of experimentation
and innovation, while also highlighting elements of clarity within the thick
texture?
Victor Yampolsky certainly offered last
night’s listeners a reading which brought these qualities to the fore. In
particular, the finale was full of the Romantic energy and surprise which
characterizes the symphony, but which still achieved a sparkling lucidity
during the fugetta at the mid-point of the movement.
The unanimity achieved by the orchestra in
the finale was remarkable. The tenderness of the second movement was revealed
through delicate playing from the group, but especially the cello, oboe and
violin soloists who were rightly acknowledged by the conductor at the end of
the symphony. Also worthy of mention at this point is the strength of the
orchestra’s horn section. Their sensitivity to the context in which the music
places them displays their musicianship and controlled technique.
Yampolsky is no stranger to South African
audiences, and it is easy to see why he remains popular. It is not only his
rounded musicianship which listeners seem to appreciate, but also the visible
rapport which he appears to achieve with the orchestral players. Indeed
throughout last night’s concert there was a warmth evident between conductor,
leader and orchestra, all which led to convincing interpretations. A sparkling
example was the rendition of Verdi’s La
Forza del Destino overture. I cannot emphasize enough just how remarkable
the playing in this overture was. From the opening chords through to the climax
one was left gasping with the sheer clarity and energy of the performance.
Likewise, the Tannhäuser Overture
achieved almost equal precision and force, despite a rather unexpected
“triangular” moment (those who were present will know what I am speaking
about).
(Cecilia
Rangwanasha)
Perhaps it was Cecilia Rangwanasha who
helped to set the musical scene for such dazzling orchestral performances of
the second half. Her voice soared through the hall with clarity and strength,
displaying her controlled vocal technique. She achieved such clear diction in
Wagner’s Dich teure halle that every
word was discernable at the back of the balcony – and that above the
accompaniment of a typical Wagnerian orchestra.
Rangwanasha’s voice has aspects of the
flexibility which one associates with a soprano like Sibongile Khumalo.
Consider the contrasts she achieved in Verdi’s Pace, pace mio Dio, the fluidity she displayed in Catalani’s Ebben? Ne andrò lontana and the
gentleness she attained in Madcagni’s Intermezzo.
One hopes to hear her tackle the large works of the Romantic oratorio, mass and
requiem canon in due time.
The printed programme last night included
an interview with Jonathan Hooper, the orchestra’s principle bass trombone
player. In it he says, “The KZN Philharmonic is gold on the doorstep of
Durban”. I am inclined to agree. Durbanites can continue to give thanks for
access to such live gold. Let us hope we can continue to treasure it to the
full.
The final concert in the Summer Season will
take place on March 7, 2019, at 19h30 in the Durban City Hall. Booking is at
Computicket.
To link direct to the KZN Philharmonic’s
website click on the orchestra’s banner advert on the top of the page or visit
kznphil.org.za - Andrew-John Bethke
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