Nathaniel Otley’s work this rising tide, these former wetlands focusing on the plight of South Dunedin suburbs was given its world premiere before a packed house in the King’s and Queen’s Auditorium on Saturday.
Incorporating industrial sounds of beaten metal and scraped wire, its ominous aura illustrates the fear of rain experienced by most whose home and hearth lie no more than 50cm above the water table.
Otley’s work, born of that community’s experience, is appropriately and successfully chilling.
It becomes a demonstration of art’s clarion call to policymakers and the important social role played by arts benefactors.
The willingness of all sections of the orchestra and audience to engage with Otley’s challenge is hugely commendable.
Guest virtuoso Amalia Hall’s performance of Piazzolla’s Four Seasons of Buenos Aires was stunning.
The work arranged for orchestra by Leonid Desyatnikov subverts Vivaldi’s Four Seasons into the southern hemisphere.
Direct and not-so-direct quotes drew giggles from the audience.
Its exhaustive demands on Hall’s stamina and flourishes drew gasps of amazement.
Solo sections for cellist Heleen du Plessis and violinist Tessa Petersen provided beautiful serenity in an otherwise frenetically spirited work.
Hall wowed the audience again with a generous encore of La Cumpasita.
Stewart’s spritely leadership of Mozart’s 39th Symphony created a joyous performance full of the whimsy and poise for which Mozart is rightly renowned.
Every one of the four movements was performed with enthusiastic excellence.
Also born out of troubled times and a sharply divided society, it celebrates music’s ability to exercise the mind while providing solace with snatched moments to smile at the sun.
