THE METROPOLITAN ORCHESTRA : LIVE AGAIN @ PETERSHAM TOWN HALL

Above: TMO’s chief conductor, Sarah-Grace Williams

Eccentric eighteenth century preacher Billy Bray said the following about his life changes when he survived a mining accident and had a  religious conversion: “I cannot express what I felt. I shouted for joy.  Everything looked new to me….I was like a man in a new world”.

This enthusiasm was echoed in the attendance and reaction from an excited crowd of TMO supporters last weekend as they heartily welcomed TMO back to the live stage at a well-managed COVID-safe Petersham Town Hall venue.

TMO emerged from the challenges of 2020 with a programme of gems from their repertoire and pandemic-defying passion. The smaller, socially distanced forces spoke with an informed, interesting voice.

It was fitting that this concert with The Metropolitan Orchestra back live and surviving should have at its heart Jim Coyle’s colourful work  Dancing With Billy Bray. This exuberant portrait of joy was commissioned by the orchestra and premiered by TMO in its 2018 Met Concert Series.

The inclusion of this central work by Sydney-based composer Jim Coyle was an inspiring addition to this return and reunion event, surviving in an effective modified form.

Originally scored for larger forces including a large brass section, Coyle collaborated with conductor Sarah-Grace Williams and worked with TMO to fashion the tone poem to a smaller orchestra.

The result was quite different in scope and tone colour. However the execution of the work’secstatic driving rhythms and juxtaposition of angular fragments gestures with beautifully broad, twisting lyricism was still convincing and full if character.

Above : Jim Coyle, composer of ‘Dancing With Billy Bray”

This was tasteful and successful re-orchestration for remaining strings, wind and trumpets. It showcased the flexibility of this orchestra’s members as well as the integrity of the composition, which spoke to us solidly in this ‘new-normal’ arrangement.

Preacher Billy Bray would have had a glorious dance to this portrait’s altered sheen. It was a thrill to have this enduring work introduced live by the composer and the sharing of the experimentation and re-scoring process for the re-arrangement endeared us to the work even more TMO repainted the caricature crisply for us.

The European works surrounding this colourful centrepiece were premiered through Billy Bray’s lifetime. Beethoven’s Coriolan Overture has been feature in past Met Series concerts. It was a commanding vehicle for TMO to drive for their re-entry into the current live performance environment.

From the arresting and well-punctuated opening to the work’s conclusion, Sarah-Grace Williams gave solid guidance to the assembled musicians. Beethoven’s contrasts and slow-burn momentum was in fine hands here.

Apart from the exciting delivery of the dramatic opening, the selection of this repertoire favourite with its constant overture air of expectancy was perfect to catapult TMO from isolation to the current and near future.

Performed and recorded by larger numbers at times, this concert’s version lacked no impact. Keenly balanced string and wind conversations impressed us. Fine punctuation, ensemble and sectional articulation and carefully graded nuance were the champions which ensured we were taken on quite a ride.

TMO reaffirmed its past affinity with Mendelssohn and its key place in the Sydney concert scene by being able to timetable his Symphony No 4 Op 90 to conclude this programme. Reminiscent of so many Met Concerts in the past, the TMO offering included a major work of the orchestral canon for our enlightenment and enjoyment.

The intricacies of Mendelssohn’s expert orchestration and detailed instrumental shifts as in the first movement were nicely negotiated by this TMO group. The second movement especially was a perfect example of directness, poise and precise unfolding of historical form. Its voice leading was seamless within and between sections.

Overall, the composers’s elevated skill and complexities were rendered with consistent clarity. His confident voice and landscape of expression rang nicely in the Petersham Town Hall acoustic as well as in our live-concert-starved 2020 ears.

TMO’s familiar assured tone and precision despite the passion rang clear bells to celebrate that this hard working group keeps evolving from past experience, education, commissions, and careful preparation and will continue to deliver a diversity of music, however it must. This re-entry deserved all the whistles, applause and gasps it received on the night. We look forward to hearing TMO in 2021 and beyond.