Classical Chromatics

15/05/2025

CONCERT REVIEW: NZTrio performing their Magnifique programme in the Concert Chamber of Auckland's Town Hall on Sunday 11 May 2025.

A stunning performance of a rarely-heard contemporary composer was the centrepiece for the NZTrio’s “Magnifique” programme in the Auckland Town Hall’s Concert Chamber on Sunday night. And the launch of their new cellist-to be, Matthias Balzat, heralding in the start of a new era of performance for the Trio.

Schubert’s Notturno in E-flat D.897 opened the evening with sotto voce sweetness. Here was a breathtaking ensemble, the strings sang as if with a single voice. It a meltingly beautiful work to start the evening in the glowing acoustic of the Concert Chamber.

Next Pēteris Vasks Episodi e canto perpetuo written in 1985 in the midst of the Russian occupation of Lithuania expresses the “difficult road through evil, delusion and suffering”. Never heard in this country before, this was a shattering work, it cracked wide our ears and opened our hearts.

The opening of Vasks’ work framed worried string lines against extreme piano chords accelerating in a steep Crescendo into a second Misterioso movement with it’s shimmering string sounds and muted piano notes. The mysterious melodic line is almost obscured by scraping string sounds but ascends like a sentence rising up into nothing. Defiance burst out into the odd and jagged Unisono movement with fierce fortissimo and a ragged Burlesca, like an awkward and angry dance.

All ears were on Matthias Balzat’s playing and in the Monologhi movement. His cello line was the voice of tragedy which was then taken up and extended dramatically by Amalia Hall on violin. We could have had even more bite but this was evident in the extraordinary second Burlesca movement. It was busy, noisy, anxious and horrible. As it should be. The cello bow stabbed out rhythms and the violin screeched jaggedly. It was a diabolical frenzy.

What a powerful set-up for the last movement, the Canto perpetuo. Here the lyricism brought tears to my eyes. These strong works have much relevance for our times. And surely Vasks’ work has as much gravitas and power as Olivier Messiaen’s Quartet for the End of Time. What a privilege to hear it played with so much commitment.

In this evening of mighty works, emerging NZ composer Linda Dallimore’s “Self Portrait” was painted with paler brush strokes. Aspects of her life were expressed from cheery tones to the busy sounds of the nearby Los Angeles freeway. It was interesting to hear and always great to include a composer from our own Aotearoa.

Capping the evening was the masterpiece of ‘Romantique’ music, Camille Saint-Saëns’ Piano Trio No.2 in E minor Op.92. Here pianist Somi Kim was in full flight, unleashed on the keyboard in glorious runs and dazzling phrases. Wonderful to see all three NZTrio musicians leaning wholeheartedly into the mighty Romantic style. It was a passionate ride eliciting ‘bravo’s’ from the audience. A delicious encore of Saint-Saëns’ The Swan paid homage to Mother’s Day to send us on our way.

NZTrio continue their Magnifique national tour with performances in Rotorua tonight and Whakatane tomorrow evening.

Bookings and information - https://nztrio.com/ .

NZTRIO in the Concert Chamber of Auckland’s Town Hall on Sunday
Franz Schubert | Notturno in E-flat major D.897
Peteris Vasks | Episodi e canto perpetuo
Linda Dallimore (NZ) | new work
Camille Saint-Saëns | Piano Trio No. 2 in E minor

09/04/2025

Concert Review: BACH MUSICA NZ performing Rodrigo and Bacalov

Bach Musica NZ presented a NZ premier and a rare opportunity to hear classical guitar and piano accordion with choir and orchestra on Sunday evening in the Auckland Town Hall. First up, Joaquín Rodrigo’s Fantasia para un gentilhombre written at the request of the guitar virtuoso André Segovia and composed well after the huge success of Rodrigo’s first guitar concerto, the Concierto de Aranjuez. Each of the four movements were developed from traditional Spanish dance forms and the music of Baroque composer Gaspar Sanz.

The Fantasia opened with Villano y ricercar with sweet pastoral colours and great warmth from guitarist Barkin Sertkaya and the chamber-sized Bach Musica Orchestra. Crisp ensemble from the woodwind and brass sections and rhythmic playing from the strings gave life to the second movement, the Fanfarria. The next Danza de las hachas, a traditional dance performed with torches had fiery Spanish flair. Sertkaya’s every note, chord and flourish had presence and beauty as colours and rhythms danced between guitar and orchestra.

The final movement, the Canario was exquisite. Director Rita Paczian drew heart-melting sounds from the orchestra and the guitar answered with sincere delicacy. With a little gentle amplification, there was a perfect balance of acoustic between guitar and band. A solo encore from Sertkaya of Francisco Tárrega’s Recuerdo de la Alhambra was a spellbinding finish to the first half.

After the interval we heard the NZ premier performance of Misa Tango by Argentinian composer Luis Bacalov. Composed in 1997 Bacalov removed explicitly-Catholic references from the Mass to make it universal to all faiths. Sounds from the streets of Buenos Aires combined with the large choral and orchestral forces creating an almost operatic style. Also scored for baritone, mezzo-soprano and the bandoneòn (an Argentinian piano accordion), it was a unique instrumental line-up.

What a devilish score to tame with wild changes of rhythm and key and dynamics. Rita brought all the parts of the Misa together into a work of power and cohesion. Each section had interest and searing emotion from the plea for mercy in the opening Kyrie to the scorching Credo. Not a long work, at just over half an hour, you could say it’s a Mass for our modern length of focus. But it was full of meaning and often deeply touching.

The work began almost out of nowhere, building from quiet depths to a full dark chord answered sorrowfully by the piano accordion. The second movement, Gloria was triumphant from the start all the way to the final scorching fortissimo. The Credo was almost defiant with it's Milonga-like syncopated rhythm- “I believe in a single omnipotent God”. The Sanctus movement was made more eerie with the hugely accomplished accordionist Stephanie Poole’s extraordinary runs and mercurial phrases.

Soprano Felicity Tomkins sang the mezzo-soprano part with gallons of voice and glowing and emotional phrases. Baritone Andrew Conley gave us intelligent and expressive Spanish with a pleasing lyric tone. In the final duet section of the work, Bacalov writes the mezzo line on a lower pitch than the baritone line, bringing out the soft warmth of the woman’s voice and the fragility and emotion of the upper range for the man’s voice. This was a beautifully compassionate moment.

The final Agnus Dei was stunning, a spacious and searing movement, the orchestra a framework for beautiful solo lines from piano accordion, soprano and baritone. Pianissimo phrases from the voices pleaded - “Cordero de Dios ... Lamb of God have mercy on us” and the tango-like gestures from the accordion deepened the sense of grief, it truly felt that the troubles of the World were being prayed for on the stage that night.

This was appealing programming, a chance to hear less usual repertoire performed with great care and passion performed by wonderful musicians drawn together by the dedicated talent of Rita Paczian, Concertmaster Yanghe Yu and Bach Musica NZ.

📸 Peter Jennings Photography

16/12/2024

Bach’s Christmas Oratorio heralds in Christmas even more festively than the Messiah, you could say. And BACH MUSICA NZ's performance of Parts IV to VI of J S Bach’s Oratorio at the Auckland Town Hall on Sunday 1 December blazed with colour. Intended for performance in church during the Christmas season, each part or cantata of the piece tells a part of the Christmas story. For those of us who are not church-goers, the evening created the theatre and sacredness we seek at this time of year. Music Director Rita Paczian sprang onto the podium with such electric energy, drawing out lively engagement from the orchestra. The band was led with much life and lightness by concert master Miranda Hutton. Bach makes busy work for an orchestra notably Alison Dunlop’s lithe oboe and the vibrant trumpet of Orson Paine. The fabulous Bach Musica NZ Choir was in enthusiastic voice, particularly in Part V “Ehre sei dir, Gott” with clear vocal lines weaving a tapestry of joyous noise. Bach Musica NZ always selects an interesting line-up of vocal soloists. The Evangelist role was championed by tenor Henry Choo with an energetic rendering of the recitative and arias of dazzling vocal runs. Joanna Foote is always elegant with crystal high notes and she gave the text authentic emotive drama. Alto Jessica Wells’ voice had a beauty and warmth perfect for the evening. But the surprise package was bass Jonathan Eyers, returning from studies and awards in the UK to sing. What a voice and presence of quality, delivering the German with intelligence and a beauty of phrasing that was a real treat. Thank you Bach Musica NZ for stepping into December with passionate Christmas spirit.

10/10/2024

The APRA AMCOS NZ Silver Scroll Awards supported by Te Māngai Pāho / NZ On Air Music provide a vital platform and acknowledgement of the many Aotearoa artists and composers who achieve so much every year. Warm congratulations to the recipient of the 2024 SOUNZ Contemporary Award | Te Tohu Auaha - Nathaniel Otley for 'the convergence of oceans', for orchestra. Below is a performance of his award-winning piece.

NATHANIEL OTLEY: the convergence of oceansThe convergence of oceans is a finalist in this year’s SOUNZ Contemporary Award, reflecting the immense talent and ...

09/08/2024

Although I was unable to be there in person, here is the live stream of the Lexus Song Quest Final performed in Wellington on 3 August 2024. An opportunity to hear Aotearoa's up and coming classical and opera performers, here is the breakdown of the songs and performers for the evening. I hope you will enjoy watching some or all of these performances. First performer (forward video to 15'30") is the beautiful pure tone of counter-tenor Austin Haynes performing Reynaldo Hahn's Infidélité with Terrence Dennis at piano. At 21'04" is the lively expression of Tayla Alexander performing Jake Heggie's Animal Passion. At 27'47" the rich bass voice of Morgan Andrew King performs the debut of Te Ohaki a Turanga composed by Taitiwha King. Continue to 35'25" to hear mezzo soprano Katie Trigg's warm performance of Schumann's Mondnacht. To conclude the song section, at 41'10" Manase Latu's beautiful lyrical tenor performing Schubert's Der Neugieriger. To hear the opera arias, forward to 1'10" to hear Austin Haynes perform Handel's recit and aria O Mirror of our Fickle State with the New Zealand Symphony Orchestra conducted by Hamish McKeich. At 1'15" you can hear Tayla Alexander's vibrant performance of Rimsky Korsakov's Snow Maiden's Aria. Sarastro's Aria from Mozart's Magic Flute next at 1'19" sung with stately tone by Morgan Andrew King. Another offering from Handel, this time Hence Iris Away from Semele sung with great drama and a fabulous final high note by Katie Trigg at 1'23". The long phrases of Il Mio Tesoro from Mozart's Don Giovanni sung with sublime spin by Manase Latu at 1'30". More Handel for Austin Haynes' second aria from Rodelinda, sung in style at 1'36". Tayla Alexander (in a third gorrrrgeous gown) returns for her second aria with luminous beauty in Rusalka's Aria by Dvorak at 1'43". Morgan Andrew King returns as Silva in wonderful tone for his last aria from Verdi's Ernani at 1'52". Katie Trigg returns for a fantastic rendering of the Letter aria from Massenet's opera Werther at 1'59" securing her the winning place. To finish the evening, at 2'08" Manase Latu sings the tenor aria from Gounod's Faust with great tenderness. https://www.nzso.co.nz/plus/videos/lexus-song-quest-grand-final-gala-livestream?fbclid=IwY2xjawEieR9leHRuA2FlbQIxMQABHRrnjEvRnrjX3ZnWXqhEgkVdlv9FR3F6qjTzhKUmBHTDWYs-_9oFQpjGfA_aem_3W685fwZwtBhV2m3Sl_43A

Prepare for an unforgettable night as five Finalists sing it out to be crowned Aotearoa’s next opera star at the Grand Final Gala with the NZSO.

24/07/2024

Loved the spirit of the Mountain Top Chorale at the World Choir Games 2024 with their amazing multi-rhythms and passionate vocal tone not to mention the best choir outfits!

24/07/2024

Another excerpt from the excellent Delaware Choral Scholars at the World Choir Games 2024. The sublime unfolding chords of Thomas LaVoy's "White Stones" demonstrated this choir's smooth ensemble and superb pitching. Loved the energy of the double piano collaboration too.

24/07/2024

Northern Indian choir Nagaland Madrigal Singers performing an excerpt from "Alleluia" by Naga composer James Swu in the World Choir Games 2024. Bold repertoire and firm direction with a confident gold-winning sound!

20/07/2024

The dynamic Delaware Choral Scholars from the States performing in Choral Kaleidoscope, a concert as part of World Choir Games 2024 in Auckland's Town Hall.

20/07/2024

The amazing a capella group UngKlang from Denmark performing Ēriks Ešenvalds's Stars in Choral Kaleidoscope, a concert as part of World Choir Games 2024 in Auckland Town Hall.

20/07/2024

What an amazing week of music in Tamaki Makaurau with the World Choir Games 2024. I will post selections of some of the choirs from around the world. Starting with one of the Champions Competitions, here is Luminata Voices performing Te Atua, a waiata by Te Taepa Kameta.

11/06/2024

BACH MUSICA NZ - Sunday 9 June 2024 - Dvořák and Vaughan Williams. CONCERT REVIEW by Clare Martin - BACH MUSICA NZ presented Dvořák’s Mass in D major op. 86, Dvořák’s Romance in F minor, op. 11, Dvořák’s Slavonic Dance No 2, op. 72 and Vaughan Williams’ The Lark Ascending at Auckland Town Hall on Sunday 9 June 2024.

Dvořák and Vaughan Williams made an pleasurable pairing tonight in the Town Hall. Featuring three of Dvořák’s works, this was quite an immersion into the Czech composer’s Romantic style. The beloved Slavonic Dance opened the programme with it’s warm and playful folk-waltz rhythms. Conductor Rita Paczian drew charm and buoyancy from the excellent small orchestral ensemble in Dvořák’s Romance in F minor, next. Concertmaster Yanghe Yu stepped out from the orchestra to perform a solo line of much tenderness.

The common interest between tonight’s composers was the influence of folk music on their sound, one Moravian/Bohemian and the other English. With Vaughan Williams’ The Lark Ascending we were out in the spaciousness of the English countryside. With a single sustained chord from muted strings and woodwind, the solo violin enters with an almost improvised melody, representing the filigree ascent of the lark into the sky. The work is full of the folk tunes that Vaughan Williams loved to collect. Soloist Yu spun beautiful threads of sound, just a touch tentative to start before warming into the work. Legato woodwind, brass and melting string playing expressed the languor of a warm Summer’s day. Yu’s lark was delicate and beautiful, airborne on the waves of warmth Paczian drew from the ensemble.

With tonight’s smaller orchestral numbers, we didn’t have the big swells you might normally hear in these works. However, with a smaller hand-picked band we got to appreciate all the details and hear a real flexibility of tone. And, as always, the orchestra was right on the tip of Paczian’s deft baton.

The main work of the evening was Dvořák’s Mass in D major, heralding in the choir and four soloists. With their shining gold scarves and shining voices, the choir injected a palpable energy into the programme. Again, not large forces but these dynamic voices really projected the music. The “Gloria in Excelsis Deo” was truly glorious. The unaccompanied “Laudamus te, benedicimus te” really showcased the skills and blend of the choir.

This commitment and spirit wasn’t always as evident at the front of the stage with the soloists, but this Mass doesn’t give huge scope for that without arias or long duets or trios. However it was a real pleasure to hear Joel Amosa’s quality bass notes, and Emma McLean’s soprano showed real lyrical beauty. The trio “Et incarnatus est” for the soprano and bass and Kate Spence’s alto was sung with genuine feeling. Both Spence and Tenor Taylor Wallbank sang the anguish in the “Miserere” section. Also appreciated were the matched bottle green concert dress for soprano and alto!

The choir demonstrated much spirit (“Cum Sancto Spiritu”) and drama (“Crucifixus”!)and a rather dazzling fugal section in the “Et iterum venturus” section. Sometimes we could have used more tone from the altos in the “Credo in unum Deum” but we got plenty of personality from the tenors and basses. And an “Hosanna” crackling with energy from the whole choir. The final “Dona nobis pacem” was a true exposé of the choir’s talent. Even if Dvořák doesn’t make a major statement to close the work, Bach Musica concluded the evening with real focus, commitment and beauty.

The evening did represent the best of Bach Musica. The delicacy of tone from Yu’s solo violin and Paczian’s superbly flexible orchestral ensemble. The dynamic sound and engaging quality of the choir. This is really committed music-making and I urge you to seek them out for their Gala later this month on 29 June and their Mendelssohn programme on 15 September this year - https://bachmusica.com/2023/11/25/2024-concert-season/

Image - Thanks to Peter Jennings Photography