Judging by Saturday's turnout, Aucklanders are realising that the NZSO National Youth Orchestra's annual visit is an event not to be missed.
Ninety-six of the country's finest young musicians, under the inspirational Jacques Lacombe, introduced themselves with Ravel's Alborada del gracioso. Ravel's orchestral wizardry inevitably sweeps the listeneraway, although underpowered string pizzicatos and some brass insecurities slightly marred my enjoyment.
The second suite from Roussel's Bacchus et Ariane is unfamiliar fare and the players responded enthusiastically to its scenario of dream-laden dances and frenzied bacchanales that would rival the decibels of any DJ's dance party.
Madeleine Pierard exuded grace and authority in Canteloube's Chants d'Auvergne. The opening Baliero saw her in wistful mode while in Chut, Chut she was the sly peasant girl putting kisses before couture. The soprano transformed the dark encounter between girl and hunchback in Lou Boussu into Canteloube cabaret, signing off with the tongue-twisting Lou Coucut.
The young players ably caught the spirit of Canteloube's knowing arrangements, the woodwind introduction to La Delaissado being pure enchantment.
Tabea Squire's Feverdream is the strongest NZSO NYO commission I have heard. The 19-year-old composer's orchestral ingenuity was as astounding as her assurance in shifting between airy tunefulness and foreboding expressionism.
Tonality came and went, spooky musical box effects evoked the world of Edward Scissorhands and the orchestra showed its ardent ownership of the score with a top-drawer performance.
It is rare to hear the 1945 version of Stravinsky's The Firebird and the linear writing of the Pas de Deux made for subtle plays of texture and ensemble; small interludes brought forth spiky trumpet fanfares and violin trios.
Earlier in the evening a player had commented that the NYO offered valuable insight into the life of a professional orchestra - and few such august bodies could improve on the hushed string tremolo just before the dawn of Stravinsky's Finale.
A rumbustious Khachaturian Galop served as a snazzy encore. This was a trip to the circus, with the players taking turns to stand while playing, the principal cellist twirling his instrument 360 degrees like the coolest rockabilly bassman.
