Emma Matthews & the MSO

Soprano Emma Matthews both saved the day and claimed the night for the MSO’s concert, Coloratura Showcase. Matthews was the replacement for “one of the world’s superstar singers, Sumi Jo” who was to perform “some of her signature pieces from the bel canto repertoire”, according to the orchestra’s original press release. Ms Jo was forced to cancel because of illness. Matthews was given the opportunity to showcase her own strengths in a new program which included the rarely heard Hamlet by Ambroise Thomas. But, as this necessitated a departure from the original concept for the program – which was to feature French music in the first half and Italian in the second – there was some loss of smoothness in the programming. This was partly (and quite reasonably) to allow the orchestra to present works it had been preparing for the occasion, such as Debussy’s Prelude to the Afternoon of a Faun, a Rossini overture and Fountains of Romeby Respighi. To begin, there was music from from Bellini’s The Capulets and the Montagues. The drum roll which introduced the Sinfonia was an appropriate opening to a concert which had a sense of occasion; but the orchestra under Alexander Shelley played with less precision than usual, perhaps an indication that it was under-rehearsed. Fortunately, Emma Matthews – singing from the same work – gave a flawless performance, from her pure, well-articulated entry, through a (largely unaccompanied) recitative and an aria which displayed the lovely quality of her voice. It would have been helpful to have a translation in the notes, or at least an indication of its dramatic place in the opera as, although Matthews’ facial expressions indicated the drama, on the concert stage her movement was restricted. There was no mistaking the intent of the aria, Je veux vivre, from Gounod’s Romeo and Juliet in the second half of the program. A Sumi Jo favourite, it was also the perfect vehicle for Matthews’ glorious voice as it soared above the orchestra with effortless runs and trills. The aria proved a curtain-raiser for the Mad Scene from Thomas’s Hamlet in which Matthews showed herself to be one of the world’s great coloraturas. The final high note elicited a roar of applause that just went on and on from an audience that must have been congratulating itself for not cashing in the Sumi Jo tickets. Hamer Hall 12 November (until 14 November)