Song and Dance Review
from Peter Donnelly Music Reviews
Derwent Symphony Orchestra
Jack Machin, conductor
Cradle Coast Orchestra
Robb Dennis, conductor
Combined Orchestras
Jacqueline Ward, soprano
Hobart City Hall
03 November 2024
For their final concert for 2024 the DSO were joined by the Cradle Coast Orchestra from Burnie for a delightful program of light Classical and Show music.
The Overture to Orpheus and the Underworld by Offenbach was the rousing opener, with the DSO conducted by the irrepressible Jack Machin and fine solo turns from Kelli Dixon (clarinet), Sara Mason (oboe), Anne John (cello), and Christina Sigrist (violin). While the venue, a last-minute change from UTAS Stanley Burbury Theatre, gave a warm enveloping sheen to the quieter music, the sound became boomy at louder volume levels. The remainder of the DSOâs initial bracket comprised well-chosen selections by Bizet, Tchaikovsky, and Brahms. Harpist Juliann Greenâs and flautist Rosemary Hollowayâs duet from Bizetâs Carmen suite was a highlight.
A selection from the Cradle Coast Orchestra conducted by Robb Dennis started with the splendid sound of Ian Cooperâs trumpet in the jazzy/bluesy score for Kanderâs Chicago. Handelâs Water Music and the lively rhythms of Hardimanâs Lord of the Dance followed.
The combined orchestras played Lerner/Loewe My Fair Lady selections and soprano Jacqueline Ward performed a lovely vocal version of the famous Largo movement â Going Home â from Dvorakâs New World Symphony. To conclude, Robb Dennis directed an exciting and tightly controlled Verdi Nabucco Overture where the brass and percussion produced impressive results.
All the performances were carefully prepared and there was a happy mood all round at this entertaining event.
Peter Donnelly
A Winter Concert Review
from Peter Donnelly Music Reviews
Derwent Symphony Orchestra
Beethoven/Weber/Franck
William Newbery, conductor
Angus Deeth, clarinet
Stanley Burbury Theatre, UTAS
18 August 2024
Beethovenâs âThe Consecration of the House (Overture), Op. 124â is a first-rate piece, clearly influenced by Handel and full of wit and high spirits. I fear that it suffered from lack of sufficient rehearsal time on this occasion, the DSO struggling with intonation and ensemble issues. Even so, the vitality of the work came through and timpanist Benjamin Raymond had a fine workout.
It could have been a different ensemble accompanying Angus Deethâs splendid performance of Weberâs âClarinet Concerto No. 2 in E flat, Op. 74â. He brought great verve and sparkle to this engaging concerto as well as plenty of warmth and expressiveness in the slow movement. An early Romantic work like this really sprang to life with such committed playing; Newbery and the orchestra provided neat and accurate support to the soloist throughout.
CĂ©sar Franckâs âSymphony in D minorâ, a three-movement Romantic symphony in cyclic form much influenced by Wagnerâs sound world, does not seem to receive the regularity of performances it once enjoyed. It was a welcome choice and the personal selection for this program by conductor Newbery. The DSO gave of their best here with some nicely balanced textures in spite of a shortage of violins and some full-on brass passages. The conductor also paid commendable attention to dynamics, especially in the central Allegretto with its fine cor anglais solo from Emma Peacey. All in all, this was a most enjoyable afternoon of musicmaking.
Peter Donnelly
From the New World Review
from Peter Donnelly Music Reviews
From the New World
Derwent Symphony Orchestra
Damien Holloway, conductor
James Anderson, cello
Stanley Burbury Theatre
UTAS Sandy Bay
02 April 2023
It was good to have this longstanding community orchestra back and tackling such big masterworks as these after a relatively quiet 2022 season. Indeed, the task of bringing technically challenging pieces such as these to performance standard only really faltered in the opening Barber Adagio for Strings (1938) where the difficult central section was let down by intonation and ensemble issues.
However, Dvorakâs Concerto for Violoncello and Orchestra in B minor, Op. 104 (1896) came up wonderfully well. Soloist James Anderson played with fine control and variety of expression. He was particularly sensitive in the second movement Adagio ma non troppo with notable support from the wind players – flautist Gianni Posadas-Sen deserving special mention. The brass tuttis in the outer sections brought some splendid moments and the first movement horn solo was well taken by Aidan Connors. Jamesâs cello sounded especially poignant in that elegiac coda towards the end of the final movement.
Conductor Damien Holloway gave an introductory talk concerning Amy Beachâs Symphony in E minor (Gaelic), Op. 32 (1895). This first symphony by an American woman (1867-1944) to be published and performed by a major orchestra was composed at the same time that Dvorak wrote his famous concerto. The programming of this little known work was a brave decision and rumour has it that the rehearsals were difficult with key brass players available only at the last minute. The conductorâs clear enthusiasm for the 4-movement piece was certainly warranted and the orchestra gave of their best for him. This symphony, with its frequently turbulent mood and abundance of Irish tunes, has a powerful sweep and forward momentum that is infectious. Although the performance standard inevitably had some rough edges, overall this was hugely enjoyable with excellent brass and first-rate solo work from concertmaster Kevin Kang. The woodwinds gave their best playing of the day in the second movement Alla Siliciana â Allegro vivace. This was a considerable achievement for both the DSO and conductor Damien Holloway.
Peter Donnelly
Music of Film Review
from Peter Donnelly Music Reviews
Music of Film
The Derwent Symphony Orchestra
The Cradle Coast Orchestra
David Bird and Robert Bentley, conductors
Stanley Burbury Theatre, UTAS Sandy Bay
13 June 2021
This concert brought together some 80 performers consisting of the DSO and visiting Cradle Coast Orchestra from the NW Coast along with augmenting players. The resulting ensemble was easily the largest orchestra heard in Tasmania since pre pandemic. While the title âMusic of Filmâ was a bit misleading with the program only including one actual film score, there was a well-chosen selection of fun pieces.
Things got off to a shaky start with some clearly under rehearsed results in the Bizet LâArlesienne Suite No 2 where good wind playing was a redeeming feature. However from the arresting opening snare drum of Rossiniâs âThe Thieving Magpieâ Overture under David Birdâs taut direction, standards were high with crisp, alert articulation and good coordination if at a rather stately tempo. The famous Rossini crescendo was well handled as the piece proceeded to its climax.
The Richard Rodgers/Robert Russell Bennett collaboration for the 1952 television series âVictory at Seaâ was sumptuously orchestrated, rousing, tuneful stuff with the American flag flying triumphantly in a very aspirational 1950s way. Iâve always loved this music and a suite from the full score was robustly performed here under the direction of Robert Bentley with all the verve, colour (and volume!) one could want.
David Bird again led the large ensemble with authority and control in excerpts from John Williamsâs wonderfully memorable music for the original Jurassic Park movie. DSO concertmaster Joseph Phillips contributed extensive, informative and entertaining program notes to complement a most enjoyable afternoonâs entertainment.
Peter Donnelly
Schubert & Tchaikovsky Review
from Peter Donnelly Music Reviews
Schubert & Tchaikovsky
Derwent Symphony Orchestra
Alexander Rodrigues, conductor
Kevin Kang, violin
Hobart Town Hall
18 April 2021
The Derwent Symphony Orchestraâs last concert took place in November 2019. In June 2020 following the Covid lockdown they recommenced regular rehearsals with conductor Alexander Rodrigues every Monday night, working their way through orchestral repertoire staples including all nine Beethoven symphonies and featuring a number of soloists from their ranks. This program was the DSOâs first public performance in 17 months.
It should be noted upfront that the standard and consistency of playing and ensemble here was the best that I can recall from this source based on many years of attending their concerts. Clearly the period of long preparation and work with the one conductor has enabled the attainment of standards only rarely approached in the past.
With the orchestra of 44 occupying floor space in front of the stage of the Town Hall and a capacity audience, the sound quality was loud and immediate. Schubertâs Symphony No 4 in C âTragicâ certainly sounded bigger and grander than usual. The tempi were broad but also trenchant and convincing with plenty of intensity where needed as well as real warmth in the Andante slow movement.
Kevin Kang brought remarkable assurance and virtuosity to the solo part in Tchaikovskyâs Violin Concerto in D. Careful preparation was everywhere in evidence from the soloist, and orchestra which was obviously stretched to its limits but nonetheless nearly always managed to surmount the constant technical challenges under the guidance of conductor Rodrigues. The woodwind playing in particular was consistently fine. Thrilling stuff indeed! To top it all, Kevin Kang offered the hair-raisingly difficult violin solo in Heinrich Wilhelm Ernstâs Variations on âThe Last Rose of Summerâ as an encore.
The excellent program notes by concertmaster Joseph Phillips also deserve commendation. This was a special occasion and full marks go to conductor, soloist, and orchestra for their considerable achievement.
Peter Donnelly
