The Four Seasons: Australian Brandenburg Orchestra

An all-Vivaldi program is a sure thing for luring crowds out of the late autumn chill and into the concert auditorium. Paul Dyer, artistic director of the Australian Brandenburg Orchestra left nothing to chance, including in the concert the composer’s most popular work, The Four Seasons, three fine young choirs, two stellar soloists – and recorder maestro Genevieve Lacey. First, it was the combined choir’s chance to shine, with the Choir of Trinity College (University of Melbourne) and The Melbourne Grammar School Chapel Choir (including exchange students from New Zealand) giving an energetic performance of Vivaldi’s Gloria in D Major. Meeting the challenge of some difficult entries and fast-paced choruses, the singers took a fresh approach to the well-loved work, with soloists Fiona Campbell and Belinda Montgomery conveying its underlying beauty and lyricism. Their duet, Laudamus te, was a highlight of this performance, the two voices melding so well that the conventional distinctions of “soprano” and “mezzo” seemed irrelevant (although Campbell demonstrated the added strength that is the gift of the best mezzos). There could hardly have been a better curtain-raiser to the “main event” of this program – but this performance should be praised for its own sake, with the well-prepared youthful choristers singing as one (albeit very powerful!) voice. After interval the audience settled with a sense of expectation and excitement, even though they were to hear one of the world’s most often played works. Vivaldi’s Four Seasons has been recorded by the greatest orchestras and is a mainstay of period ensembles such as the Brandenburg – but, as Dyer said in his opening remarks, it is also too often heard – even in supermarkets. However, this scoring of the work was unique, he suggested in the program notes. “Genevieve (Lacey) has taken the much-loved violin showpiece and masterfully re-arranged it for not one, but four recorders – all played by her in a feat of great musical athleticism.” One of these period recorders had been specially created for this concert by Joanne Saunders, the only apprentice of the famous Australian recorder maker Fred Morgan, who died ten years ago and is widely considered to be the greatest recorder maker in the world since the 18th century. Lacey’s performance – which included a number of superb duets with guest concertmaster Rachael Beesley and other individual players – was simply breathtaking, as she played long passages normally shared by a number of strings. The audience was so impressed it applauded after each of the four concertos, in defiance of tradition (and possibly also with the intention of giving the soloist a break!). Yet, despite the massive task she had set herself, Lacey’s enthusiasm never flagged. Quite the opposite, as her recorders trilled, twittered, danced and soared through the music of the changing seasons. In all of this she found a willing partner in the orchestra, with many musicians moving in time to the music – and clearly enjoying themselves. The concert will be repeated in Melbourne and then plays again in Sydney (with the Brandenburg Choir) later this week. It is one which audiences will remember and talk about for some time to come. THE FOUR SEASONS: AUSTRALIAN BRANDENBURG ORCHESTRA Melbourne, Sydney until 23 May