Violinist Anne-Sophie Mutter has been Deutsche Grammophon’s unrivalled cover queen for decades, donning soignee gowns to tempt you into sampling Mendelssohn and Mozart.
On Saturday night, enchanting a full house on the Auckland Town Hall stage, she was a vision of golden glamour.
Mutter’s partnership with American film composerJohn Williams has created a most marketable package, placing his Violin Concerto No. 2 among assorted shorter pieces of film music.
Personally, I cool rather quickly to his signature heroic style, but the orchestra’s opening and closing offerings from E.T. the Extra-Terrestrial and Star Wars had faces glowing beatifically around me, and conductor Gemma New was fired up with the energy of the occasion.
Mutter introduced many items herself with a welcoming naturalness, reverentially referring to Williams as “The Master”.
Which, in many respects, he proved to be.
Violinist Anne-Sophie Mutter performs John Williams' Violin Concerto No. 2 with the Boston Symphony Orchestra, conducted by Williams. Photo / Hilary Scott
The various short pieces were custom-scored for her talents. She dealt out rapier-like virtuosity in The Duel from The Adventures of Tintin and enjoyed underlining the quirky character of Harry Potter’s faithful owl Hedwig.
Dipping into his extensive back catalogue, Williams gave Mutter the opportunity to wax bluesy in Nice to Be Around from the 1973 movie Cinderella Liberty; and, after floating through the satiny textures of The Long Goodbye, she stood aside to enjoy the full soaring power of the NZSO violins.
Helena’s Theme (“for Indi Jones fans”, she quipped) was significantly described as music for “a strong, intelligent, fabulous woman”, and her final encore, an elegiac Schindler’s List, was her parting prayer for peace in this world.
Over the years, Williams has enjoyed pairing soloists and orchestras, and his Violin Concerto No. 2, written for Mutter, is a skilfully wrought trajectory from tentative tension to a somewhat melancholic resolution.
Violinist Anne-Sophie Mutter.
One could source musical influences and echoes, but Williams’ craftsmanship and Mutter’s artistry created a compelling cohesion. Especially so when hearts were laid bare in the expansive second movement, or when Mutter duetted generously with harpist Carolyn Mills, moved from the back ranks of the orchestra for this piece.
