We are used to hearing Deborah Cheetham Fraillon’s Acknowledgement of Country as a prelude to Melbourne Symphony Orchestra concerts, but it took on a new significance on Thursday night. What was perhaps a false start was interrupted by archival footage of Sir Bernard Heinz projected onto the lamentable Masonite back wall as a prelude to the announcement of the 2024 Sir Bernard Heinze Memorial Award. Given to “a person who has made an outstanding contribution to music in Australia”, last year’s recipient was Nicolette Fraillon. In another piece of synchronicity, this year Emeritus Professor Linda Barwick was awarded the honour for her significant and life-long contribution as a musicologist, “to the study of Australian First Nations musics”. After a short, gracious acceptance speech, the Acknowledgement of Country by our foremost Indigenous composer of classical music was performed.
Then it was on to the Baroque festivities. Of the many outstanding features of these three concerts comprising the MSO’s Baroque Festival, the variety of instrumentation was unexpectedly diverse – due largely to director Erin Helyard’s choice of repertoire. The other surprising element was how well Hamer Hall’s acoustics delivered the sound of such a small band of players. Even Nicholas Pollock’s expert contributions on guitar and theorbo could be clearly heard at key moments – again, thanks to Helyard’s finely calibrated dynamic levels as conductor, this time from the chamber organ rather than the red harpsichord.
Beginning with Vivaldi’s Concerto in D, RV 562a, this concert seemed to be a continuation of the splendid concert we had heard two nights earlier. Although not designated as a violin concerto specifically, that is what it was in effect. Zoë Black’s virtuosity was, once again, an exciting component, particularly in the entrancingly soulful second movement, that appeared to have much in common with what has come to epitomise a Baroque violin concerto in the popular imagination: Vivaldi’s Four Seasons. A stately introduction with prominent timpani led to a celebratory outburst featuring pairs of oboes, bassoons and horns. Many listeners might find it an advantage to have modern rather than period horns, especially with the MSO’s star horn player, Nicolas Fleury leading the way. Florid solo passages from violin, oboe and guitar, a dazzling violin duo were interspersed with stirring passages from horns, bassoons and timpani. The serene, beautifully ornamented second movement concluded with an entry from the organ, followed by a delicate morphing to robust dance-like final movement that ended on a celebratory note. This dazzling performance received an enthusiastic response from the audience (many cries of Bravo!) and a well-deserved kiss on the hand for Zoë Black from Helyard for her work as Guest Principal Violin and soloist – a gesture that was repeated later.
One of the big drawcards for the Festival was the inclusion of Australian/British soprano Samantha Clarke. Tall, willowy and elegant, she would have looked equally at home on a fashion runway. She also possesses a voice of supreme beauty and impressive carrying power. The first of her three arias by Vivaldi, “Rete, Iacci, e strali adopra” (With nets cords and arrows) from Dorilla in Tempe was guaranteed to set pulses racing. Demonstrating florid singing at its agile finest, Clarke ignited the stage with a fiery display of vocal virtuosity. Although the texts of the arias were not provided in the program, translated titles and the music itself was enough to convey the essence of each one. Her second aria, “Leggi almeno, tiranna infedele” (Read at last, faithless tyrant) from Vivaldi’s first opera, Ottone in Villa, was in stark contrast. Slow and poignant, it enabled Clarke to display her command of long flowing lines with an exquisite yet generous tone, even at its softest. It is a voice of rare allure, and you could sense the audience hanging on every note. “Alma opressa da sorte” (A soul oppressed by cruel fate) from La fida ninfa completed the bracket on a sprightlier note. Clarke’s voice emerged seamlessly from the orchestra, the effect made more striking by exemplary breath control. A judicious use of chest voice added further vocal colour to her performance.
A short pause for some tuning, then it was time for some Handel, beginning with his Concerto grosso in B-flat, Op.3 No.2. It was also time for the band to shine, a fast and furious duo for two violins, Black and Matthew Tomkins, leading the charge. Rachel Tobin and Michelle Woods also impressed with their featured cello duet, and Guest Principal Oboe, Emmanuel Cassimatis was vibrant in the cor anglais solos – his gleaming full tone always a great pleasure to hear. Pairs of Handel arias were divided by his Concerto for Organ in D minor, Op.7 No. 4 – a most unusual piece with an emphasis on the darker tones of two bassoons, cellos and double basses. The solemnity of these instruments contrasted with Helyard’s use of a sweet, delicate registration on the organ, followed by a spirited conversation between different organ colours and instrumental voices. Wonderful.
Possibly the favourite aria of the evening was “Lascia ch’io pianga” (Let me weep) from Rinaldo, which followed a cheerfully determined “Molto voglio” (I want a lot) from the same opera. This deliciously mournful aria is one of Handel’s most familiar and popular, and was sung lovingly with as much pathos as anyone could wish for. Tastefully ornamented, it was accompanied by Pollock’s suitably plangent theorbo. “Ogni vento” (Every wind) from Agrippina provided a more upbeat contrast and included some thrilling top notes.
The final two contrasting arias, “With darkness deep, as is my woe” from Theodora and “Let the bright seraphim” from Samson, respectively drew on Clarke’s capacity for investing every note with emotional power, and her ability to provide a spectacular display of vocal pyrotechnics. Whether it was a good idea for Owen Morris to enter trumpet in hand and take his place near Clarke during the final phrases of the first aria is debatable; it was done with quiet efficiency, but it did pull focus away from what was a particularly moving piece. There is no doubt, however, that this combination of voice and trumpet brought the evening to an exhilarating conclusion.
Photo supplied.
Heather Leviston reviewed “Handel and Vivaldi Arias”, presented as part of the Melbourne Symphony Orchestra’s Baroque Festival at Arts Centre Melbourne, Hamer Hall, on April 4, 2024.
