UPSHAW. ELGAR AND GRIEG

ACO2
Dawn Upshaw gives everything in her outstanding performance with the Australian Chamber Orchestra. Pic Jimmy and Dena Katz

A ravishing, enchanting concert that challenged and left one thrilled – what a way to start this year’s season! It was a delicious mix of works by contemporary composers and standard concert favourites performed under the energetic and passionately committed leadership of Helena Rathbone.

The concert began  with the charming ,somewhat spiky ‘ John’s Book of Alleged Dances’ by John Adams ( 1993) accompanied by a pre-recorded prepared piano in the style of John Cage or perhaps Stravinsky  that used sharp fractured rhythms and sizzled .Some of it was lyrical and birdlike  other sections were whirling and exultant and it left us breathless .

Rautavaara’s ‘Die Liebenden ‘which followed was mesmerizing in its shimmering , limpid atmosphere and was our introduction to the wonders of Dawn Upshaw’s  magnificent performance. Upshaw has been described by the LA Times as “one of the most consequential performers of our time ‘and deservedly so.

This was followed by the famous spinning wheel solo ‘Solveig’s Song ‘ from Greig’s ‘Peer Gynt’. You could hear the spinning wheel going around in the circular swirls of the at times waltz like music. Upshaw gave an extraordinary, intensely involved performance – it was like drowning in dark chocolate and the final segment was chilling. There was a stunned silence and then tumultuous applause.

The Greig  ‘Holberg  Suite’ that took us to interval showcased the magnificent  ensemble playing of the ACO. The opening movement was played brightly with panache, the second was far slower and more stately. The ominous rumbles of the fourth movement ( Air)  had a ravishing  ,exquisite sound  as led by Rathbone  and the last movement ( Rigaudon ) had a rushing  dancelike feel .

The main work of the second half was the Australian premiere of Maria Schneider’s  Grammy award winning song cycle  ‘Winter Walks’ – a series of nine songs , using poet Ted Kooser’s autumnal reflections on mortality ,which musically included elegant use of piano , an intriguing quirky use of violins and cello sounding like a Tibetan singing bowl and the extraordinary pure soaring voice of  Upshaw .The cycle also includes the backing of soft strings, free direct melodic writing and improvised jazz .The second song ( When I Switched On a Light)  was spiky and agitated , the third ( ‘Walking By Flashlight’  ) had a jazzy feel. ‘Dust devil ‘, the fourth song with its shimmering piano really caught the feel of its subject and the feel of the heat. ‘Our Finch Feeder ‘,the seventh song , was sharply spiky, dark and dramatic. The final ninth song ‘How important It must be’ was lyrically atmospheric and featured a jazzy saxophone solo with lush strings.

The final work, the Elgar ‘Introduction and Allegro Op 47 ‘, was intense, powerful and dramatic from the first downsweep of Rathbone’s  bow. It had agitated spiky playing and tempestuous, currying strings contrasted with singing, soaring sections, a fabulous way to complete the concert.

Running time –2 hours 15 (approx) including interval  .

UPSHAW, ELGAR AND GRIEG  is at the Sydney Opera House or City Recital Hall until 15 February, and then tours to Brisbane, Perth, Wollongong and Melbourne. Tour dates and tickets are available at www.aco.com.au