Sarah Chang & Tchaikovsky

This concert should have been called ‘Sarah Chang and Barber, and the Melbourne Symphony Orchestra and Tchaikovsky’ – too much of a mouthful, of course, but all players would have been acknowledged. Except that there was another – Xian Zhang, the first female Chinese conductor I have encountered (including in my three years in Hong Kong) and surely one of the most energetic conductors currently on the world stage. While the title pointed to some drawcards of the concert, the honours on the night went to the host, the Melbourne Symphony Orchestra. Once again, we heard ‘our’ orchestra deliver a performance of contrasting works with verve and passion – beginning with Tchaikovsky’s 1812 Overture. It’s such a crowd-pleaser, thanks in large part to its climactic percussive effects, that the quiet opening can be a surprise. Given its militaristic subject it isn’t surprising that, soon after the strings, winds and some brass have played a hymn-like chant, the music evokes a dramatic scene, the famous ‘call to arms’ from the French horns and music of the battlefield. The Marseillaise is heard, itself in battle with the Russian God Save the Tsar! The orchestra relished the contrasts of this work, in sympathy with Xian Zhang’s direction – and, as expected, brought the Overture to an exciting climax. Only the fireworks and cannon were missing. The next work followed and could hardly have been a greater contrast: Samuel Barber’s Violin Concerto, performed by visiting soloist Sarah Chang. From the moment she came on stage (in a flattering cream and black gown) Chang appeared caught up in the intensity of the work, reserving her attention for her instrument and the conductor. Her first two entries appeared a little tentative and for a minute or so the soloist was overpowered by the MSO strings, soon emerging however as the ‘lead’. Although the music itself had tautness about it Chang’s style is fluid, and was heard to advantage in the Andante. The orchestra formed a bedrock for the solo violin, and showed again its ability to work with a visiting conductor. The lyricism of this movement and unity of purpose drew some quick, spontaneous applause – and allowed a little breathing space before the final movement. Chang delivered a bravura performance, but the orchestra had its own challenges, especially with the tempo that lived up to its marking, Presto. The audience responded with loud applause, this time when it was usual! The final work rounded off the program beautifully – more Tchaikovsky, his Fifth Symphony. I could write almost as much again as I already have about the MSO’s performance – but in essence, I can say that I believe Xian Zhang led the orchestra through an extraordinary understanding of the composer’s intentions. All the hallmarks of Tchaikovsky were realised: the sweetness of the melody, the power of the orchestration. There were reminders too (whether intentional or not) of the composer’s love of Ballet music. The final movement, with its reprise of the symphony’s dominant theme, had all sections of the orchestra showing what they were made of, right through to the final strings-led burst of sound. Audiences often boast that their home-town orchestra is the ‘best’. We in Melbourne simply know that, in our case, that’s the truth! Here again, in this program, was evidence of it. Rating: 4 stars out of 5   Sarah Chang & Tchaikovsky Melbourne Symphony Orchestra Xian Zhang – conductor Sarah Chang – violin   TCHAIKOVSKY – 1812 Overture BARBER – Violin Concerto TCHAIKOVSKY – Symphony No.5   Hamer Hall, Melbourne 23 March