Reviews

Our concerts are usually reviewed in the local press. Here are some recent samples.

Refined playing from the Phil
13 February 2010
BAX Tintagel, ELGAR Sea Pictures, DEBUSSY Prélude à l'après-midi d'un faune, STRAVINSKY Petrushka

Just how good the Norwich Phil is at the moment was demonstrated by Saturday's taxing programme.

Beginning with Arnold Bax's tone poem, Tintagel, deservedly the most popular of his works, conductor Peter Britton drew accurate and well-balanced playing from the orchestra, especially the winds.

It is difficult not to feel a frisson of excitement when hearing Elgar's song cycle, Sea Pictures, performed in St Andrews Hall where, just over 100 years ago, the composer conducted the first performance. The one on Saturday was enjoyable enough, with mezzo-soprano Diana Moore giving a warm account of the solo part, though it needed a touch more imagination than either she or Britton provided to raise the performance above routine.

The orchestra produced really refined playing in Debussy's Prelude a L'apres-midi d'un faune, the winds creating just the right languorous atmosphere, the flute solo beautifully played by Anne Bryant. And finally a splendid performance of Stravinsky's ballet, Petrushka, in the original version of 1911.

Frank Cliff, EDP 15th February 2010
Republished with permission of the Eastern Daily Press(www.edp24.co.uk)

5 December 2009
SIBELIUS Swan of Tuonela, BRUCH Violin Concerto, RACHMANINOV Symphony No.2

Emotions ran high and instrumental colour was always vivid in Saturday's concert by the Norwich Philharmonic Orchestra, conducted by Peter Britton and led by Dominic Hopkins.

Sibelius' Swan of Tuonela made an attractive overture. The haunting beauty of a Finnish lake at dusk was mirrored in rich, but hushed music, while the tones of Emma Penfold's cor anglais conveyed the character of the great bird, serene, stately and mysterious.

Helen Burslem, a former pupil of Ipswich School, was the soloist in Max Bruch's ever-popular First Violin Concerto. Bringing out the contrasts between lyric episodes and more gritty passages, she caught all the high spirits of the finale with its repeated patterns and bouncing rhythms that were echoed by the orchestra.

Romantic passions were also powerful in Rachmaninov's Second Symphony. A generously proportioned work, each of its four lengthy movements contained a wealth of material and a great range of moods.

In the rich scoring that allowed every section of the Philharmonic to show its qualities, Sarah Thompson's clarinet was a particularly attractive feature.

Christopher Smith, EEN 7th December 2009
Republished with permission of the Eastern Evening News (www.eveningnews24.co.uk)

8 November 2009
VAUGHAN WILLIAMS Fantasia on a Theme of Thomas Tallis, BUTTERWORTH A Shropshire Lad, BRITTEN Sinfonia da Requiem, ELGAR Give unto the Lord, PARRY I was Glad, PHILIP LEDGER Requiem

I did wonder at the wisdom of Sunday afternoon's concert being restricted (bar one) to early 20thC English works. But such was their extraordinary diversity that it was an unfounded fear.

The exception was Sir Philip Ledger's 'Requiem'. Sub-titled 'A Thanksgiving for life' it was first performed only two years ago and Sir Philip, well-remembered as Director of Music at UEA, makes no attempt to outdo any other similar work and it largely follows the traditional mass setting.

Opening with a gentle solo flute, chorus and orchestra (conducted by the composer) take up the mood in Requiem Aeternum. The following Kyrie needed a more emphatic start and while the final Agnus did not exactly ring any bells the following Hosannas certainly did.

Soloists, soprano Alexandra Kidgell and Stuart Jackson (tenor) might have made more of their short contributions but in the round, whilst it is not spectacular it is a tuneful and really approachable work.

As was Britten's orchestral Sinfonia da Requiem (conducted by Peter Britton) and given a swaying opening emphasised by a marked and tolling rhythm. Percussion and brass have big parts to play and did so emphatically and the overall message was very well transmitted.

Parry's anthem 'I was glad' brought some rousing but controlled singing and the whole programme was enjoyed by an encouragingly large afternoon audience.

Michael Drake, EDP 9th November 2009
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

14 February 2009
BRAHMS Violin Concerto
BRUCKNER Symphony No 4 ('Romantic')

Conducted by John Andrews and led by Dominic Hopkins, the Norwich Philharmonic Orchestra presented two works, both heavyweights, from the late 19th century.

Young, tall and eye-catching in her vermilion gown, Nathalie Shaw was the soloist in Brahms' Violin Concerto. The orchestra tended towards over-exuberance in the first movement. In the second, better balance allowed more opportunity to savouring deft fingering and attractive tone in a pensive music dialogue.

With its gipsy rhythms and open-hearted spirit, the finale had dash and swagger as the violin led the orchestra a merry dance.

Horns, soulful and poetic in phrasing as well as tone, introduced Bruckner's Romantic Symphony in its 1880 version. They featured again and again, with hunting chorals evoking rural scenes.

Trombones and the tuba, with trumpets putting an edge to the chorus of brass, made their stirring contribution next. The role of the strings was to provide contrast, quieter naturally and generally in more contemplative style.

The impact of the opening was especially powerful. But as the symphony went its hour-long way, the repetitive patterns started to become predictable and, despite the players' sterling efforts, the conclusion did not come across as a crowning climax.

Christopher Smith , EDP 16th February 2009
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

9 November 2008
IVES Variations on 'America'
JOHN ADAMS The Chairman Dances
GERSHWIN Rhapsody in Blue
DVORÁK Symphony No 9 (New World)

Conducted by Peter Britton, and led by Dominic Hopkins, the 73 instrumentalists of the Norwich Philharmonic Orchestra opened its promising new season of concerts with a topical salute to America.

Charles Ives' Variations on America were an apt, if tongue-in-cheek choice for the occasion.

The composer had fun with the grand old tune, and the different sections of the orchestra enthusiastically seized opportunities to display their skills in William Schuman's 1964 arrangement of the score. The trumpeters, Ray Simmons and Bevin Mack, were bold and impressive.

John Adams' The Chairman Dances was a most amusing piece - a political cartoon in music that mixed Minimalism with a parody foxtrot in a smoochy, oriental atmosphere.

Norwich-born Rupert Egerton-Smith was the soloist in Rhapsody in Blue - George Gershwin's marriage of jazz and classical styles that always appeals. Although the accompaniment was sometimes heavy, the nimble pianist knew how to make the most of the catchy rhythms.

Dvorak's New World Symphony brought us back to familiar territory. The orchestra revelled in themes of yearning, and the quieter episodes bounced with vitality that was attractively tinged with melancholy.

The first half of the Largo came off particularly well.

Christopher Smith , EDP 10th November 2008
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

15th March 2008
ELGAR - Dream of Gerontius

In the year marking the 150th anniversary of Edward Elgar's birth, this well-loved work may become the most performed of all in British concert programmes. And on Saturday evening, the Norwich Philharmonic Society added their tribute with a performance of some stature.

It did not get off to a particularly auspicious start, with the wind a little awry in tuning in the first few pages.

But under David Dunnett's expansive conducting, there developed an emotional orchestral Prelude, followed in early declamatory style by tenor David Newman as Gerontius - a happy name coincidence to narrate Cardinal Newman's words - which later, as the Soul, he modified to a quite different and meditative vocal character.

Although using his wide range well, bass-baritone Richard Strivens lacked a real richness for the Priest's incantations, but the Angel of mezzo-soprano Diana Moore was both warmly comforting and spiritual. Behind them all, the orchestra (leader, Ben Lowe) always reflected the passion of the momentous circumstances.

Altogether, this was one of the best and most evocative collective Philharmonic concerts of recent times.

Christopher Smith , EDP 17th March 2008
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

11th February 2008
Performance that won our Admiration
SCHUMANN - Piano Concerto
MAHLER - Symphony No 5

Just two works made up a full programme.

In Schumann's Piano Concerto, the soloist was Piers Lane. At his most engaging in the more delicate middle movement, he was assertive enough throughout to make the work a genuine dialogue, except at the very end. There the balance was allowed to work against him.

The arrival of a full panoply of brass and a team of percussionists announced that the Norwich Philharmonic Orchestra, conducted by Peter Britton and led by Ben Lowe, was about to embark on a major work. Gustav Mahler's Fifth Symphony fulfilled expectations.

Using every instrumental resource and with gigantic dimensions, it made a tremendous impact in its five extended sections, from the sinister, unrelenting tread of the opening funeral march to more swiftly moving sections that were themselves given ample space to develop.

Emotions were strong, the climaxes stirring and the instrumentation strikingly vivid and whole-hearted. In this context the centrally placed famous adagietto was particularly impressive for its restraint. It seemed to convey all the sorrows of the world.

Undaunted by every challenge that confronted it, the orchestra tackled the score that again and again left individuals mercilessly exposed. The concentration and sheer courage of the players won admiration.

At the end the conductor singled out the horn player Lynne Roberts and the intrepid trumpeter Ray Simmons for special applause, then acknowledged the contribution of each group in the orchestral family to a real achievement.

Christopher Smith , EDP 11th February 2008
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

5th November, 2007
Norwich Philharmonica (sic)
SIBELIUS Finlandia,
DVORÁK Cello Concerto
SIBELIUS - Symphony No 2

In its 167th year, the Norwich Philharmonic Society opened the new season with an orchestral concert on Sunday afternoon. Although there was some division of opinion, switching from the traditional Saturday evening seemed to be welcomed by most.

Led by Ben Lowe, the orchestra was conducted on this occasion by John Andrews. A striking figure with a fine head of hair and a voluminous frock coat, he showed the way with wide gestures, as well as an emphatic, incisive beat, always looking to stir powerful emotions.

The programme began with Finlandia. Its thrilling nationalistic fervour might have made all the more impact if the reflective passages had been taken rather more gently and allowed space to touch our hearts.

The soloist in Dvorak's Cello Concerto was Andrew Joyce, who was born in 1982 in Norwich, where he had his first cello lessons.
After the lengthy orchestral introduction, Joyce took his opportunity to reveal deft technique and attractive tone in one of the most popular works for his instrument.

Sibelius's generously proportioned Second Symphony with its patterns of great forces gradually, at times almost hesitantly, growing again and again to full strength, suited the players and their conductor to a T.

Christopher Smith , EDP 6th November 2007
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

27th May, 2007
Norwich Philharmonic Chorus and Orchestra and Choir of Musik-Institut Koblenz
SCHUBERT Rosamunde Overture
BEETHOVEN Symphony No 8
SCHUBERT Mass in A flat

The final concert of Norwich Philharmonic Society's season yesterday evening, in a continuation of the long-established series of musical exchanges, saw the stage overflowing with instrumentalists and singers.

After a percussive opening, Schubert's Rosamunde Overture settled into the composer's tunefulness, from woodwind in particular. Not that Beethoven was averse to a tune or two in his Symphony No 8 in F and the orchestra (leader, Dominic Hopkins), conducted by Tom Seligman quickly correcting a small patch of untidiness, musically made light of many passages. But they were also able to make powerful interjections confidently and then enjoyed the Beethovian fun of the Scherzo, whilst harmonious horns had their share of it in the next movement. This was the precursor to a lively finale, precisely handled by an orchestra in fine form.

In the second half, Schubert's Mass in A flat, with the combined forces now conducted by David Dunnett, lacked impact to start with, as did the quartet of soloists. But was this just to prepare the listener for the exciting Gloria? The Credo followed in the same exultant vein until the Et Incarnatus centrepiece was reached. Not always does a Mass out of liturgical setting have a big impact - this one did.

Michael Drake , EDP 28th May 2007
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

February 12, 2007
WAGNER The Flying Dutchman Overture,
MOZART - Clarinet Concerto,
HOLST The Planets

A large audience packed St Andrew's Hall for an exhilarating concert by the Norwich Philharmonic Orchestra, conducted on this occasion by Andrew Fardell and led by Fiona Hutchins.

The Flying Dutchman overture made immediate impact with waves of passion.

Next came Mozart's ever-popular clarinet concerto. Sarah Williamson was the soloist, blonde in her black dress and with a ready smile until she turned to the serious matter of putting every effort and every last drop of breath into her accomplished, meticulously prepared performance.

The Planets Suite offered an enlarged orchestra majestic opportunities for showing its prowess, with Tim Patient at the organ assuring the foundations. Imperious brass and pounding percussion brought passion to Holst's vivid score, though the strings could have done with richer tone in the more meditative sections.

Michael Drake , EDP 12th March 2007
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)