Last night’s Sydney Symphony Orchestra's APT Master Series concert was all about creating dramatic sound pictures, some clearly subtitled, some borrowed form the Russian Orthodox Church and the rest a challenging kaleidoscope from a contemporary American female composer.
A whole program of Shostakovich was something of a gamble for the SSO concert last night, because not everybody likes his music. Luckily, I’m one who does, although my love blossomed only after many hearings.
The SSO concert in the APT Master Series presented two major works: the Sibelius Violin Concerto in D minor, Op 47 and Mahler’s Symphony No.1 in D major.
The SSO’s Emirates Metro Series chose the theme of fire for its Opera House concert last night. And fiery it was – mostly. Australian composer Brett Dean conducted his own Fire Music while Australian pianist, Piers Lane, had to fire up to get into the ring with Rachmaninov’s Piano Concerto No.3 in D minor leaving Sibelius to represent Finland with six minutes of Scene with Cranes Op 44 No2.
The APT Master Series opened its SSO 2017 season at the Sydney Opera House with a cleverly conceived and superbly executed concert dominated by Russians...writes Fraser Beath McEwing.
Another entire program of Beethoven under Vladimir Ashkenazy, with the addition of a solo violinist, again packed the Sydney Opera House for the second of the 2016 APT Master Series concerts, writes Fraser Beath McEwing.
One of the finest of Dvorak’s symphonies, along with two pieces from Smetana’s popular set of tone poems provided safe and enjoyable bookends to an ear-challenging contemporary violin concerto at the Sydney Opera House Master Series last night.
But hardly profitable, when you consider the colossal forces that had to be assembled to perform Mendelssohn’s oratorio, Elijah, writes Fraser Beath McEwing.
Conductor Simone Young and soprano Lisa Gasteen played to a sparser-than-deserved SSO audience at last night’s Master Series concert, writes Fraser Beath McEwing.
