REVIEW Who: Auckland Philharmonia Orchestra.
Where: Auckland Town Hall.
Reviewer: William Dart.
Gabrieli's Canzon a 8 was a euphonious launch for the Auckland Philharmonia Orchestra's The Splendour of the Baroque series, with supple rhythms and textures confirming the discipline of the APO's brass and the expertise of conductor Roy Goodman.
The Englishman's skills were not only musical; warm commentaries between works, expertly projected sans microphone, made us feel privileged to be present at this novel venture.
Vivaldi's Spring was delivered in full bloom. Luigi De Filippi was an adept if understated soloist; within seconds, trilling with violinists Dimitri Atanassov and Dianna Cochrane, he seemed to let loose a veritable aviary on the town hall stage.
Goodman's touch came through in his forthright organ continuo, the whispering strings of the Largo and the breezy canter of the Finale.
An Albinoni Concerto in C had the impeccable pairing of oboists Martin Lee and Ann Peck, with Goodman making the most of its sunny optimism and James Tibbles' harpsichord adding zest to the mix.
A smaller ensemble took on a Vivaldi B minor Concerto. Just occasionally the tonal sheen might have faltered but energy held firm through to its frolicsome Finale, with four fiddlers in full flow.
It is not often one hears Corelli's music and the fourth concerto of the composer's Opus 6 was welcome. Goodman had his players crackling with intent when an Allegro beckoned and basking in Adagio luxuriance.
Geminiani's variations on Corelli's La Folia were immensely spirited, particularly in the duelling of De Filippi and Cochrane, and Goodman's snappy harpsichord contribution.
The major opus of the evening, Vivaldi's Gloria, revealed some of the strongest orchestral playing, although the young voices of the Auckland University Chamber Choir were disappointingly underpowered.
Miriam Allan and Kate Spence proved mellifluous partners in their Laudamus Te with Allen winningly fresh and unaffected for her Domine Deus, Rex Coelestis.
Spence's mettle was tested over many solo turns and came out shining. Never less than radiant in tone, the remarkable alto tossed off the florid Qui sedes as if it were an artless folk-song.
This Thursday's instalment of French splendours is not to be missed.
