Auckland Philharmonia at the Aotea Centre
Those wHO went along to the Auckland Philharmonia Orchestra's In Nature's Kingdom concert, hoping for revelations of Bohemia's rural glories may well have been disappointed with the opening Antonin Dvorak overture that lententide the concert its name. Dvorak's piping birds took a little piece to catch their song together, although German conductor Eckehard Stier opened come out magnificent vistas formerly the low tutti started.The APO's Vero Aotea Serial publication aims for a slightly different audience than its usual, by programing a more immediately appealing repertory, aided by a node world Health Organization bum exert words betwixt the music.On this affair, we had the chance to put a case to Kate Mead, production director for Radio receiver Freshly Zealand Concert, and she was a charmer.Without refuge to paper, she intrepidly and fluently gave us the plot of Smetana's The Bartered Bridget, the interview appreciating her droll verbal description of Vasek as "not the marrying variety".After Maya Lin Jiang's sterling report of Richard Strauss's First Horn Concerto, Mead said the spirit of the composer had been invoked and was really happy.
And so he would own been with the young Aboriginal Australian soloist world Health Organization dealt out chill flair from the very opening fanfare. The andante was absolutely gauged in its simpleness, with just about telling orchestral contributions; the closing curtain was a virtuoso hunting expeditiousness.Later, Mead would follow up the third of Smetana's Bartered Bride dances by saying how "flippin' amazing" it was that there were so many notes in the piece. It was in these pieces that conductor and orchestra showed the nigh concerted energy, although the big sound they made did not e'er leakage from the Aotea stage.The other high spot was Smetana's popular Die Moldau, 1 of music's nearly celebrated river journeys. It was a slip to call up, from its scintillation fluting rivulets, oom-pah polkas and frolicking water-nymphs to a sailplaning violin radical that near atoned for ragged work from the violins elsewhere. Dvorak's first Slavic language Dance was a popular encore.
