O’Neill opened the evening with Wagner’s Wesendonck Lieder, five love songs which, appropriately enough, have in common a throbbing heartbeat accompaniment.
Der Engel (the Angel) is plaintive and gentle; Stehe still (Be Still) opened with an imbalance between orchestra and soloist but rose to a brilliant climax; the yearning Im Treibhaus (In the Glasshouse) is stunningly beautiful; Schmerzen (Pain) is large and sweeping and the final song Traume (Dreams) is sweeping and energetic. O’Neill has extensive opera experience to bring to the concert stage. His voice is both fine and grandly commanding.
The highlight of the evening was Bruckner’s Symphony No 4 in E-flat major.
The first movement Bewegt, nicht zu schnell rises out of silence but the double basses and brass soon signal that this will become a commanding work. The second movement Andante, quasi allegretto is more lyrical and acquiescent. The third Scherzo: Bewegt — Trio: Nicht zu schnell is triumphant. The fourth Finale: Bewegt, doch nicht zu schnell ranges from climatic outburst to peaceful lyricism.
Grand in scale and in dramatic gesture the work was given a dramatically successful and finely honed performance by the NZSO. Tremolos were beautifully executed, pizzicatos amazingly precise. Under Renes’ inspiring leadership, moments of fury and largesse were seamlessly counterbalanced by sweeping passages of fine lyricism. Within this dynamically tiered structure, there are many opportunities for each section of the orchestra to bask in the limelight. The brass and winds gave excellent performances, but particularly noteworthy was the amount of solo work given to the violas, whose rich tone is often not allowed to shine.
An evening with Simon O’Neill and NZSO
Dunedin Town Hall
