Women’s works lose lustre in media mix
Auckland Philharmonia Orchestra’s A
Woman’s Place was a worthy contribution to Suffrage 125 celebrations but did its multimedia mix of words, music and visuals really come off?
Much talk, from presenter Clarissa Dunn and six speakers, including a boisterously irreverent Georgina Beyer, pushed the concert to well over two and a half hours.
Ethel Smyth’s The Boatswain’s
Mate provided a spirited overture with its jolly workout on her famous suffragists’ march, followed by Clara Schumann’s piano concerto. This may not be top-drawer music but soloist Modi Deng almost persuaded us that it was, especially in a heart-melting duet with cellist Ashley Brown.
Gillian Whitehead has described her piano piece, Tumanako ,asa journey through an unknown landscape; Deng was a sensitive guide, travelling effortlessly from chiming virtuosity to chiselled hush.
The first movement from Claire Cowan’s finely gauged concerto, Stark, was a dazzling showcase for violinist Amalia Hall, begging the question: when is Auckland going to hear the whole score?
Cowan’s orchestral skills splashed magic around two Hollie Fullbrook songs, although the singer’s low-key performance didn’t engage with the space and surtitles were needed.
Salina Fisher’s prize-winning Rainphase was every bit as impressive as last year’s NZ Symphony Orchestra performance, but her sonic wonderland didn’t need the distraction of sloganeering visuals on the screen above. Tianyi Lu encapsulated what A
Woman’s Place was all about; a conductor whose style and flair had her physically coaxing Fisher’s soundworld from her players with the graceful sway of arms and hands before punching out architectural grandeur for Jennifer Higdon’s SkyLine with a baton.
She returns next October for the APO’s cirque Dust Palace gig, but she’s well overdue for an appearance in the orchestra’s main series.