NZSO is close to perfection

Berlioz’s The Damnation of Faust, New Zealand Symphony Orchestra, conducted by Edo de Waart, with Alisa Kolosova, Andrew Staples, Eric Owens, James Clayton, Freemasons New Zealand Opera Chorus, Michael Fowler Centre, August 25.

I left this astonishing performance of Berlioz’s masterpiece convinced I had heard as close to perfection as anything I have experienced in many years of writing reviews.

The Michael Fowler Centre is a fine acoustic space, but it is one that makes severe demands on performers; here I heard an orchestral sound that was unlike anything I have heard before.

The usual clarity was present, so too was the sheer impact, but added was a wonderful bloom on the sound – all combining to provide an unforgettable sound experience. And Berlioz’s visionary work was the beneficiary. Composed in 1846, in almost every respect it was far ahead of its time. Not only was Berlioz’s use of the orchestra startling in its originality, but his decision to compose an opera ‘‘without costumes or decor’’ was unheard of.

He tells the Goethe story of Faust in a very straight, concise, fashion yet embellishes it with sounds that confused the audiences of his day. The work is very difficult on all levels so the shambles that was the first performance was no surprise. There were no weaknesses here. The orchestral playing was breathtaking, whether it was the tingling brass – with ophicleide! – or the nimble stylish woodwind, the secure percussion or the wonderfully svelte strings, this was all Berlioz could ever have wanted.

And what a wonderful quartet of soloists. Andrew Staples was superb as Faust, with his impeccable French embellishing an understanding of the role and Eric Owens avoiding histrionics as his sinisterly human Mephistopheles drew from Faust his fateful decision.

As Marguerite the Russian singer, Alisa Kolosova was magical with her aria D’Armour l’ardente flamme sung in incandescent fashion aided by the stunning cor anglais of Michael Austin, a real highlight. James Clayton as the drunk Brander was really fit for purpose. But all this perfection was topped by the marvellous richness and immediacy of the singing of the NZ Opera Chorus.

Clearly drilled to perfection by Michael Vinten, they added the dramatic precision the only a world-class opera chorus can bring. But eventually all credit must go to the masterly conducting of Edo de Waart. Under his baton this extraordinary evening’s music-making took wing – had Hector Berlioz been present he would have been amazed. – John Button