Sara Macliver. Supplied.
From the extraordinary to the quirky, the simple to the rarefied, traditionalism pitched against the completely unexpected, the opening concert of Camerata’s 2019 season offered an eclectic and interesting choice of repertoire. Yet this is what we have come to expect from this talented Chamber Orchestra led by the indefatigable Brendan Joyce. There is always an air of anticipation at a Camerata concert, as we are here not only to enjoy extraordinary classical music enthusiastically played, but also to be entertained and have fun. This opening concert was no exception.
It’s a bold move to choose a three-minute piece by Percy Grainger to commence proceedings. But when the piece is as charming and, one might say, sentimental as ‘Dreamery’ it was a comforting choice from a great Australian composer and it worked. We were straight away sucked into the Camerata web with a musical language we could relate to so well.
Benjamin Britten’s ‘Variations on a Theme of Frank Bridge, Op.10’ was one of the British composer’s early successes. Using a theme of the Variations developed by composer Frank Bridge, Britten cleverly turned the work on its head with some extraordinary contrasting techniques stretching the capacity of string instruments. Was he just trying to impress his old master? Probably. But more importantly what we hear is the young Britten combining extraordinary technical prowess with stylish creativity to produce a fresh and dynamic sound.
Camerata relished this energetic and powerful music, playing with gusto, passion and technical prowess. From the opening ‘Adagio’ variation and splendid violin solo through the darkly symbolic ‘March’ and the waltz music of the ‘Romance’ with its legato strings and the underlying pizzicato double bass, Camerata tackled this tricky music head on. They certainly enjoyed taking fun out of operatic arpeggios and trills in the ‘Aria Italiana’, just as Britten would have wished, with high pitched strings, violins played bizarrely as ukeles and pizzicato violas and cellos. Such antics produced spontaneous audience applause. Followed by various parodies of Vivaldi and Viennese waltzes and some discordant chords in the ‘Moto Perpetuo’, superb playing in the ‘Funeral March’ with its evocative soundscape and throbbing bass, uncannily sounding like percussion, helped explore the limits of the string orchestra. The whole piece ended harmoniously in ‘The Fugue’ with all jarring elements coming neatly together.
Camerata often introduce a rogue element into their concerts – a wild card segment or mystery guest. This concert included the diversion of young Queensland tap dancer, Jayden Groggen, tapping and somersaulting to the Typewriter Song while the orchestra played busily in accompaniment. This was a short but fun segment and Jayden was astonishingly good.
Robert Schumann composed his Song Cycle ‘Frauenliebe und Frauenleben’ (A Woman’s Love and Life) inspired by his deep love for his wife, Clara. Exploring the many stages of the life of a woman from her youth to old age, Schumann’s empathy for the female sex is both touching and modern in its understanding. Usually accompanied by piano, these nine art songs were here cleverly rearranged by Joyce for the string ensemble, matching orchestral colour to the vocal quality of the singer. Sara Macliver sang the generally lilting, emotive songs with deep feeling and beauty, her soprano offering a heartfelt commitment to text and storyline. Her interpretation was intelligent and thoughtful while the orchestra’s accompaniment respectful and supportive. It was a ravishing performance by them all.
Vivaldi’s ‘Motet for Soprano and Orchestra – In Furore’ was a terrific choice for the final piece. Demonstrating the strengths of both soprano Sara Macliver and Camerata in this wonderful showy piece, Macliver’s high coloratura soared effortlessly above the stave, reaching the high tessitura with seeming ease. Her voice has exactly the right timbre for this repertoire and its fiendish top notes. With sufficient sweetness and a rich, warm sonority, Macliver also has the pure strength to manage all those runs and trills. Thrilling and mesmerising singing. Camerata played wonderfully, setting a steady pace that was fast and furious as required, gentler and more reflective in the third aria.
A comment should also be made about the use of atmospheric lighting combined with high production values employed by Camerata. Simple staging without either sets or props, they still manage to produce lighting effects that create moods that greatly assist the power of the music.
All in all, this was a first-rate concert from a terrific ensemble of highly motivated players, assisted by the engagement of one of Australia’s finest Baroque singers. In classical music circles, it just doesn’t get much better than this.
Rating: 4 ½ stars ★★★★☆
Sara Macliver in Concert with Camerata
Camerata Queensland’s Chamber Orchestra
Brendan Joyce – Artistic Director and Leader
Sara Macliver – Soprano
21 February 2019
Concert Hall, QPAC
