Reviews

 Passion aplenty as orchestra performs The Italian Job

Nelson Symphony Orchestra November 28, 2009. Reviewed by Ruth Allison Nelson Mail November 30, 2009.

Young soloists rise to occasion
Young Soloists Concerto Concert, Nelson School of Music, September 5 [2009] Reviewed by Barbara Stowe.
Everyone can recall those times as a teenager when they stood up in front of the class or school audience to speak or to perform. Remember those butterflies that made your stomach turn? Or remember how you worried about a pimple on your face, or perhaps stuttering, or just plain old fear of forgetting everything you needed to say or play? The reason we did these things was because it was only through experience that we learned how to calm ourselves and perform to the best of our capacity.
Young musicians require as much time solo on stage as they can get, in front of audiences who will support them in their efforts to learn how to achieve. The Nelson Symphony Orchestra has been offering this opportunity with their annual Young Soloists Concerto Concert.
The concerto music selected by these young soloists was a who's who of technically demanding solo pieces from the classical repertoire. The NSO was well-rehearsed and worked very hard to support the young soloists to achieve their best.
These soloists were too good not to mention every one of them, and their achievements have earned each of them the right to see their name in print: Matthew Prater, Alexa Thomson, Harry Ellerm, Fenella Deans, Georgia Thomson-Laing, Holly Dunn, Grace Francis, Sophia Tarrant-Matthews, Hannu Siren, Shohei Takagi, and Olivia Francis.
I can highlight just a few performers due to lack of space, but all of these young artists deserve full credit for their achievements and high level of performance.
Ellerm's performance of Vieuxtemps' Concerto No 5 for violin produced a roar from the audience, and the smiles of admiration on the faces of the first violins told it all.
It was hard not to see the influence of their teacher Kate Sherwood in the lovely poise and musicality of Nelson College for Girls cellists Deans, Thomson-Laing and Dunn.
Tarrant-Matthews displayed her individual style and clever interpretation of Beethoven's demanding Piano Concerto No 3.
The audience was charmed by an animated performance by Takagi of the Haydn Cello Concerto No 1. At times it was like witnessing a dance with the cello.
Frances showed her technical skills by selecting the Tchaikovsky Violin Concerto No 35, where she was in full command of the difficult modal scale and multiple stop passages.
Conductor Peter van Drimmelen had obvious rapport with the artists and takes great delight in his ability to help emerging musicians. Thanks go to him and to the NSO for fostering the development of young performing artists.

Source The Nelson Mail 5 September, 2009, p.10.

Musicians bring alive old genius
The Nelson Symphony Orchestra and cello soloist James Tennant, Nelson Winter Festival performance. Nelson School of Music, Saturday night July 18, 2009. Reviewed by Paula Cunniffe.

As a child, I was fond of Viennese composer Franz Schubert's Unfinished Symphony in B Minor, with its haunting beginning bass theme - even before I knew its name and writer.
Schubert had a tragically short life, dying at 31 from syphilis. This, coupled with his struggle to gain recognition for the multitude of pieces he wrote, makes his work even more compelling for me now. Like many before and after him in the arts, some genius is never realised until after death.
What a delight it was to hear the piece played by the Nelson Symphony Orchestra, conducted by Kenneth Young. The audience was moved to clap prematurely after the first movement. We couldn't help ourselves; the dramatic building of the syncopated accompaniment and distinct cello melodies made for a climactic end to the Allegro moderato. The Andante con moto was more gentle and melodic, and even with a few odd notes from the woodwind section, it received a fantastic response from the full house.
Then came the intense and demonstrative personality of soloist James Tennant, striding in with a green silk shirt and a confident wide smile. Seated with his cello slightly too high above the orchestra at the front, he may have lost some sound to the rafters as he played Czech composer Antonin Dvorak's Cello Concerto in B Minor, Op 104. Its distinctive gypsy folksong flavour is typical of Dvorak's writings, staying loyal to his humble beginnings and rejecting the strong German influence on orchestral music at the time.
Tennant and the orchestra, along with Young, took us on a journey of rich contrasting and repetitive themes throughout the Allegro, Adagio: ma mon troppo and the Finale: Allegro moderato, which comprised the second half of the evening. Had Tennant's cello not physically been a separate entity, you could be forgiven for thinking it was an extension of his body and soul. He looked mightily pleased with himself, and rightfully so.
The second movement emitted some odd notes and a wrong start in the woodwind section - something members' faces couldn't disguise. The third and final movement, though, was an exciting crescendo of absolute control and mastery of each instrument - each member suddenly coming awake to the demands of the emotion needed to express the energy for peak performance. This was confirmed by a standing ovation.
Many thanks to the Nelson School of Music and all involved for celebrating and bringing alive the genius from centuries gone by.

Source: The Nelson Mail, July 20, 2009

Children enjoy whimsical musical treat
Nelson Symphony Orchestra children's concert. Tubby the Tuba and the Carnival of the Animals by Saint-Saens. Saturday, May 16, 2009 Nelson School of Music. Reviewed by Ruth Allison.

When I agreed to do a review of the NSO Children's concert, I forgot, for a while, that I was not a child and that maybe the voice of children would be more appropriate. So I invited Jessica Moser (11) to accompany me. She came with notebook and pen and here is our review:
Tubby the Tuba was a big hit with everyone in the audience. The Nelson Symphony Orchestra played beautifully. The conductor, Mick Dowrick had an excellent command of the orchestra and kept everyone in time.
The narrator, Doug Brooks, was an amazing story teller. His wonderful rendition of the story coupled with the music had everyone believing Tubby was actually in the room. The slideshow by Elliot Cina was great. It went really nicely with the story and the music. The whole thing was brilliant.
The Carnival of the Animals was tuneful and compelling. Peta Spooner's choreography ensured that her dancers looked like the animal in the music. This concert was specifically designed to cater to the musical interests of children and it didn't disappoint.
Jessica and I talked to Karl Newton (6) who liked the part when "the frog gave Tubby some good advice and Tubby felt happy" and his favourite part was when the violins joined in and let Tubby play the melody.
Troy Newton (3) thought the "drums were awesome" and Oliver Handforth (5) "liked it when the orchestra got angry".
Charlotte Handforth's (10) favourite part was "when Tubby played his own song" but her "most" favourite was the dancing'
The Nelson School of Music was full and buzzing with energy. Next to us 5-year-old Oliver was telling his mother the difference between the violins and the cellos, "a cello is way bigger". The NSO players enjoyed their roles as Peewee the Piccolo and Samuel Pizzicato and the children laughed when the "trumpet snickered and the trombone stuck out his tongue".
Karl liked the clarinet cuckoo-ing in Carnival of the Animals, and thought "kangaroo meringues" would taste awful.
Wine and flowers were a well-deserved gift to the dance troupe and members of the orchestra who took such pleasure at entertaining an enthusiastic, young audience.
Thank you Jessica, Karl, Troy, Oliver and Charlotte for helping with the review. It is heartening to see young people enjoying an orchestra. To misquote Ogden Nash, whose verses accompanied the animals of Saint Saens' amusing Grand Zoological Fantasy, music is "a miraculous thingaling".

Source: The Nelson Mail, May 18, 2009

Another exciting concert from NSO
Nelson Symphony Orchestra under Kenneth Young, with soloist Diedre Irons. Nelson School of Music, Saturday 21 March, 2009. Reviewed by Michael Monti.

This was a familiar yet demanding programme, and all involved in Saturday night's concert can rightly take another bow.
Conductor Kenneth Young had the orchestra at his fingertips from the very first downbeat of the Beethoven to the dramatic climax of the Tchaikovsky. He encouraged and praised, providing firm direction throughout.
Beethoven's Egmont Overture set the standard for the evening - measured, good string playing supported by a balanced wind and brass section.
What impressed me from the start was the quality of the string playing, brought about by the encouragement of newly arrived violinist John Thomson, aided by regular leader David Pucher. This was most apparent in the Tchaikovsky, which requires a full sound.
Mozart's Piano Concerto No 21 in C is perhaps his best-known. In the hands of Diedre Irons, the work flowed serenely, with soloist and orchestra interchanging themes and rich harmonies. This was especially evident in the second Andante movement, which was exquisite.
There's much melancholy and drama in Tchaikovsky's 5th Symphony, reflective of the composer's state of mind when he wrote it in 1883. That said, there are also many wonderful expansive themes.
The Andante cantabile second movement opens with a demanding poignant horn solo, superbly played by John Hudson, and continued with impressive woodwind solos.
The waltz-like third movement has exposed rhythms, which proved challenging, and the finale allowed the well- rehearsed brass and confident wind players full rein to complement the strings, leading to an exciting climax.
While Young deserves full credit for Saturday night's exciting performance, mention should be made of the rehearsal conductors: Pete Rainey, John Thomson and Margaret Jackson.
Exciting concert. Full house. A great start to the year.

Source: The Nelson Mail, March 23, 2009

Fine music and a rising star enjoyed
An Evening in Paris. Nelson Symphony Orchestra, conductor Mark Carter. Nelson School of Music, November 29, 2008. Review by Michael Monti

The French theme of the evening was evident from the start: Offenbach's well known overture Orpheus in the Underworld. A few excitable notes crept in but overall the performance was solid and secure.
Claude Debussy's Prelude to the Afternoon of a Faune was delicately played. The haunting opening flute melody was beautifully articulated by Annabelle Laing, setting the scene for this graceful piece of music.
Mozart's Symphony No 31, written when the composer was living in Paris in 1778, was very well played. Strong string ensemble playing encouraged the wind and brass. The first and third movements, played in a brisk Allegro manner, contrasted with a smooth Andante second movement.
On Saturday night we enjoyed listening to a star on the rise. At just 23, Anna Argyle has a remarkable soprano voice. She was composed, had good breath control and clear French diction. Her expression reflected the mood of the arias, and with a hint of a flounce and foot stamp in Delibes' The maids of Cadiz.
The popular They Call Me Mimi from La Boheme gave way to two lesser known songs by Henri Duparc. Later Argyle returned with the enchanting Jewel Song from Faust, and the exhilarating Delibes. Puccini's O My Beloved Father, sung as an encore, tells a universal tale.
Conductor Mark Carter was very encouraging without being flamboyant. The orchestra was well- rehearsed, and responded to his confident control. It would be good to have him return, perhaps with a programme of his choice
The orchestra has successfully survived a year which presented totally unexpected disruptions at the top. What the musicians should remember though is they have played works which challenged them; and played them well.
This was another great concert and the orchestra should be proud of their entire season.

Source: The Nelson Mail, December 1, 2008 

Young musicians steal the show
Nelson Symphony Orchestra, Young Musicians Concerto Concert. Conductor Kenneth Young. Nelson School of Music, September 25, 2008. Review by Ruth Allison

I feel very lucky to be living in Nelson. I have just returned from a film festival showing of Young @ Heart, where I saw an inspiring cast with an average age of 80, and now I am about to review a concert with another inspiring cast, whose average age is 16.
I will never complain about young people, or the perils of being old, again.
The Nelson Symphony Orchestra is to be congratulated on providing a wonderful opportunity for talented young musicians to showcase their skills.
The audience was treated to eight aspiring performers playing a diverse range of instruments: violin, cello, flute, clarinet, French horn and piano.
They came from all over New Zealand: Nelson, Christchurch, Wellington, Auckland and Dunedin. And the music spanned three centuries: 18th, 19th and 20th.
There were solo and double concertos and an appreciative audience. That there had been auditions and these eight performers were chosen is proof that classical music is alive and well in New Zealand.
The Nelson School of Music is a fine hall in which to listen to a concerto. The Nelson Symphony Orchestra is a "treasured asset", in the words of its greatest fan, Barry Nalder, and I agree with him.
The orchestra supported the young musicians with warmth and energy. Despite the occasional shaky start and some intonation difficulties, especially in the string section, they worked together as a team, ably led by Richard Wells.
The young soloists were poised and charming. Splashes of red, blue and green in the gowns of the women were a visual treat and enhanced their presence on the stage along with each appearance of a new instrument - a pair of gleaming French horns, two rich brown cellos, an elegant silver flute, to name a few.
It is perhaps not fair to name only some of the eight musicians, as they were all accomplished, not just in the instrument they played but often in many others.
However, I really enjoyed the liquid sounds of the clarinet of Carolyn Irons playing Weber, the exquisite violin of Charmian Keay in Mozart and the powerful performance from Sophia Tarrant-Mathews playing the first movement from the mighty Beethoven Piano Concerto in C minor. Their performances belied their youth.
This was an engaging concert and I have nothing but admiration for these wonderful young people.
As I said, I feel very lucky.

Source: The Nelson Mail, September 27, 2008

Power and passion on show
Nelson Symphony Orchestra with soloist Jennifer Banks, conductor Ken Young. Nelson School of Music, July 12, 2008. Review by Gail Tresidder

It's the morning after the concert and a beautiful spring-like day in our Nelson winter. Something to be joyful about, as indeed is the Nelson Symphony Orchestra.
On Saturday, in front of a near-capacity audience, they played as sweetly, powerfully and skilfully as I can remember. We were fortunate that Ken Young, one of New Zealand's leading conductors, was available to rehearse with the orchestra and guide them through this balanced, but far from easy, programme of Sibelius and Chabrier. His calm and confidence brought out the very best in every musician.
The stirring introduction to Sibelius' Finlandia offers a brass section the chance to shine, and they were sharp and sassy. All credit to them and to Clare Monti, who played her timpani with verve; also to Jodie Campbell, in sparkling form on percussion. The often adapted melody Hymn Finlandia (known to many churchgoers as Be Still, My Soul) was finely executed, the strings singing as of one voice.
Parisian Emmanuel Chabrier was friendly with the painter Manet. They both delighted in nature, and Suite Pastorale is as easy on the ear as Manet's paintings are on the eye. The first movement, Idyll, brought birdsong, a feeling of drifting through the countryside, and ended on a happy little upbeat of the strings. Danse Villageoisie, the solo theme shared by clarinettists Veronica Struthers and Lucy Rainey (welcome back), was a pretty, rhythmic melody; the whole, evocative of village dances and merriment.
After the darker and contemplative Sous Bois, the piece ended with a lilting Scherzo-Valse.
Even though he had a special affinity with the instrument, Sibelius wrote only one Violin Concerto, the D Minor. With Richard Strauss conducting, it was premiered in Berlin in 1905 and has become one of the most popular and challenging works in the violin repertoire.
Jennifer Banks, the talented New Zealand violinist who is currently studying at the Boston New England Conservatory, delivered a virtuoso performance that impressed with her concentration, perfect phrasing and almost flawless delivery.
Playing virtually solo for part of the Allegro moderato, her passion and timing were perfect; joined by the orchestra, the contrast between them was beautiful. The Adagio di molto is lyrical, deeply tender, melodic and delicate, with long lines of passion. A masterpiece, and played magnificently by soloist and orchestra.
Banks' little smile to the conductor prior to the last movement, Allegro ma non tanto, reflected her feeling and our delight. We were washed over by amazing and delectable sounds, coming to a crescendo in this wonderful concerto and a night of entrancement.

Source: The Nelson Mail, July 14, 2008

Taddei's enthusiasm carries difficult programme
Stravinsky's Pulcinella and Grieg's Symphonic Dances. The Nelson Symphony Orchestra, conductor Marc Taddei. The Nelson School of Music, May 19, 2008. Review by Paula Cunniffe

Almost overflowing the stage on Saturday night, the 46-strong Nelson Symphony Orchestra looked confident, despite upheavals in recent weeks. With visiting conductor Marc Taddei at the helm, Nelson gave its support with a full house, despite the chilly night.
Taddei is no stranger to the Nelson public, having led the Vector Wellington Orchestra at Sealord Opera in the Park with Dame Kiri Te Kanawa earlier this year.
I wasn't keen on Stravinsky's re-arrangement of Pergolesi's manuscripts for the Pulcinella suite. The work, which premiered at the Opera in Paris almost 88 years ago to the day, it was produced in collaboration with the artist Picasso, French choreographer Massine, and creator of the Ballet Russe Diaghilev.
Following the upheaval of World War 1, it was Stravinsky's intent to produce a new type of music, using a juxtaposition of nuances and timbres and creating sometimes shocking disequilibrium of instruments. The composer's efforts raised him to genius status among the Parisians, cementing his position as one of the modernists in the age of the artist as illusionist and magician.
Taddei was full of enthusiasm and vigor for Stravinsky's work which was evident in his performance and speech. His own aim is not unlike Stravinsky's endeavour to meld new media into performance, including both visual and aural experience for the audience.
Sadly, we had no visuals other than an impeccably turned out and hardworking team of musicians. The Nelson Symphony Orchestra's first performance with a work by Stravinsky, it seemed quite challenging in places, even with the deliberate disequilibrium.
After the interval, we were introduced to a more familiar composer, Edvard Grieg. The Symphonic Dances are still lively and cheerful 112 years after they were written, and beautifully performed by the orchestra under the vigorous direction of Taddei. So vigorously in fact, that he lost the baton mid-performance, its trajectory broken by the cellist to his right, causing mirth to those in the audience quick enough to see it.
It was great to have Taddei back here in Nelson.

Source: The Nelson Mail, May 21, 2008

Magical Peter and the Wolf worth a repeat performance
Peter and the Wolf, produced and directed by Kim Merry, performed by the Nelson Symphony Orchestra. Nelson School of Music, March 31, 2008. Review by Gail Tresidder

Famous people with notable orchestras - Sean Connery with the Royal Philharmonic, Dame Edna Everage with the Melbourne Symphony, just two of many - have narrated and played Prokofiev's Peter and the Wolf.
It is hard to imagine that any of them could have brought more magic than Kim Merry and the Nelson Symphony Orchestra on Saturday.
It was a treat for the ears, eyes and heart. All four performances were full and despite putting in extra chairs, people were turned away.
This collaboration between Merry as director and producer with Still Life Productions and the orchestra under the baton of an empathetic David Lindup was a delight from beginning to end.
A luminescent tree, integral to the plot, occupied centre stage and was in itself an attractive piece of art. Much more was to come - Peter, our hero, was greeted with resounding clapping, closely followed by the fluttering bird, glittery-eyed duck and moustachioed orange cat. Congratulations to the clever people who made the puppets and the anonymous puppeteers who manipulated them so skilfully and amusingly.
The wolf was a masterpiece - even his fierce teeth were more endearing than frightening, and from the moment he scratched his ear with his front left paw, it was certain that in this version, he would live to see another day - albeit in the zoo!
The orchestra embraced the lovely music, though it must have been hard for them to keep focus. Timing is all with this piece and they did extremely well, especially as the front row of the audience was almost in their laps. The soloists did justice to their various bird, animal and people characters, and the strings were sweet for Peter's motif.
A special mention of Phil Taylor and his joyful trumpet during the triumphal march, accompanying Peter as he led the bird, duck, cat, wolf, grandfather and hunters up and down the aisles, giving the children in the audience (all of us!) the chance to get up close and personal with the cast.
It was lovely to be with children so enjoying real music and a live performance. There will be many others who will hear about it from their friends and who missed out this time. Is a repeat performance a possibility? This was fantastic.

Source: The Nelson Mail, April 2, 2008

Patriotic passion from local players
Nelson Symphony Orchestra concert, conductor David Lindup. Nelson School of Music, November 10, 2007. Review by Ruth Allison

This concert was an interesting mix of American and German patriotism. The NSO, under the assured and strong direction of conductor David Lindup, was able to portray the nationalistic but musically sophisticated ideas of both Copland and Beethoven.
The concert began with Copland's Fanfare for the Common Man. Claire Monti on timpani produced a controlled and dramatic sound. The piece was written to honour those engaged in World War 2, and is uplifting and celebratory. Despite some rather exposed brass sounds, it was a fitting start.
The other Copland piece, Billy the Kid, was a delight to watch, as the players were all busy and the sounds came from every direction. The timpani and percussion imitated the sounds of gunshots and horses' hooves, and the strings evoked the image of the lonely cowboy. The flute provided fitting melancholic phrasing, and the cellos built and sustained the tension as they depicted Billy's death.
The NSO was for the most part cohesive and, with clear guidance by the conductor, was able to bring the elements of dance and some tight, crisp rhythms into its playing.
Beethoven's 7th Symphony was written to benefit soldiers from the Napoleonic Wars. The audiences of 1813 was hoping for victory over Napoleon, and embraced the symphony's energy and beauty. The Nelson audience responded with similar enthusiasm to Beethoven's passion.
The symphony began with the confident sounds of the woodwind. The rich cello sounds in the second movement evoked images of dead soldiers being carried home by their comrades. This theme was in turn picked up by the woodwinds and violins, and the whole orchestra was able to build to a patriotic and stirring conclusion of hope and victory.
The gleaming copper timpani featured again, as did the rich sounds of a French horn. The full strength of the orchestra was heard at the end in the allegro con brio, with brilliance, and brilliant it was.
The best orchestral performances are true collaborations between the conductor and the orchestra. In this concert, the players most definitely showed respect and a willingness to work hard for their conductor. In turn, he demonstrated a respectful appreciation of the players.

Source: The Nelson Mail, November 12, 2007

Enjoyable concert by Nelson orchestra
Nelson Symphony Orchestra, conductor David Lindup, Nelson School of Music, July 7, 2007. Review by Michael Monti

The nearly full auditorium was testament to the reputation built up by the Nelson Symphony Orchestra and conductor David Lindup. Their repertoire has expanded in recent years, successfully challenging the players.
Berlioz' Roman Carnival Overture is an exciting work, full of fireworks. However, I don't believe it was a good choice for opening this concert. Despite the slower than usual tempo, there were hesitant entries and exposed solo lines.
Elgar's Sea Pictures are set to the words of five English poets, and, as the title implies, conveys the moods of the sea. Elgar's characteristic orchestration and motifs are dominant, with the vocal line giving extra orchestral colour. Rotorua mezzo soprano Kate Spence gave those poems life and put detail on the broader Elgar canvas. She has a rich lower register and crisp interpretation, portraying the mood of each piece superbly.
Cesar Franck's Symphony in D minor has themes, especially in the first and third movements, which are both familiar and repeating. After a sombre opening by the lower strings the wind and brass bring a dramatic undercurrent. The second movement, allegretto, is quiet with unobtrusive melodies. The third, allegro, is lively with long ensemble passages.
The orchestra was particularly secure in the symphony with a full string sound and well-balanced wind and brass playing, especially from the cor anglais.
David Lindup has an encouraging conducting style, reaching out to each section of the orchestra for their individual or collective contribution. The result is another satisfying and enjoyable concert for both performers and audience alike. Well done.

Source: The Nelson Mail, July 9, 2007 

The Nelson Symphony Orchestra. Nelson School of Music, May 19, 2007. Conductor - David Lindup. Review by Ben Winter

The Nelson Symphony Orchestra delivered a magnificent programme of Russian and Finnish Music on Saturday night with verve and passion. It was clear that this orchestra was not only applying itself to the task at hand but also enjoying themselves at the same time. The rapport between the group and its conductor David Lindup made the performance something quite special.
The opening Overture to Glinka’s opera Ruslan and Lydmilla was a fast and furious start setting the standard for the rest of the evening and sending a thrill through the audience. Some measured and controlled playing in the Karelia Suite by Sibelius ensured that this joyous work was executed with power and poise. The Cor Anglais solo in the second movement was a particularly fine.
Tchaikovsky’s Second Symphony “The Little Russian” is a mighty and passionate work trough which the listener feels a whole range of the composer’s mood are shed within the fabric of the work like musical skins of raw emotions. The orchestra opened up this work like Pandora’s box in the first movement the mesmerised the listener through the march like andante of the second movement. The quick fire deliver of the third movement paved the way for a rousing ending in the fourth and final movement.
Visiting Nelson for the weekend, this concert was indeed the highlight of my stay. The city should be proud of its local orchestra as the standard of the NSO was without doubt on a par with the ensembles of my hometown of Auckland. Bravo to the Nelson Symphony Orchestra you are an asset to musical life in Nelson!

Source: The Nelson Mail, May 21, 2007

The Story of Peer Gynt
Nelson Symphony Orchestra in conjunction with Peta Spooner. Narrator Kim Merry, conductor David Lindup, costuming by Frances Rae. Nelson School of Music, March 31, 2007. Review by Paula Cunniffe

On Saturday, a cast of 14 young Nelsonians brought the Story of Peer Gynt to the stage in a wonderful marriage with the Nelson Symphony Orchestra. Local dance teacher Peta Spooner has every right to be proud of her ballet students, aged 13 and up and of varying experience. Three weeks of intense rehearsal saw 45 minutes of grace, skill and passionate effort culminate in a performance well supported and appreciated by the Nelson public.
I could have been listening to a studio recording of composer Edvard Grieg's Peer Gynt Suite, but it was our very own symphony orchestra bringing it to life in the flesh. Magic.
The terraced stage of the Nelson School of Music was a perfect way to show and separate the multiple narratives happening throughout, enabling the main characters to meander high and low with a spotlight against a backdrop of supporting dancers appropriately dressed. The costuming created by Frances Rae was a well-balanced mix of delicate to dramatic. The troll was amazing and after its exit I heard a young voice in the audience claim "that was scary, mummy".
Peer Gynt was originally written by Norwegian Henrik Ibsen and presented as a long dramatic poem in 1867. The artistic director of the Shakespeare Company, Michael Kahn, helped Ibsen pare it down and present it to the stage.
Nelson's tame version left many parts of the original story out and quite rightly so, for three fully packed family shows.
Peer's self-exploration quest originally encounters themes of reckless sexual abandon, resulting in a love child and unresolved marriages - pretty much a recurring theme to present day on the screen. For those unfamiliar with the tale, it's a combination of folk story, and existential and expressionistic drama of the psyche.
The young braggart Peer leaves behind his childhood sweetheart and escapes his hometown of mediocrity. Travelling the world, he encounters a succession of female tempters: the naive Ingrid, the entrapping Troll Princess, and the exotic and devious Anitra, before returning home to his beloved Solveig. I'm once again reminded of the range of creative talent we have in our city.
Sadly, there were only three back-to-back day performances on the Saturday.

Source: The Nelson Mail, April 2, 2007 

Music flows in wonderful concert
Nelson Symphony Orchestra, conductor David Lindup. Nelson School of Music, July 8, 2006. Review by Michael Monti

The standing ovation accorded soloist Diedre Irons at the conclusion of the Schumann Piano Concerto in A minor was a mark of a truly wonderful performance. From the bright, positive start of the first movement, both soloist and orchestra worked as one under the clear direction of conductor David Lindup.
The second movement, Intermezzo, was more gentle as the music ebbed and flowed; and then the third, Allegro Vivace, bright and energetic but well controlled, inspired the players to great results. Ravel's Pavane for a Dead Princess, with its exposed entries, was possibly not the ideal choice to open the concert. The strings, led by David Pucher, had a well-rounded sound for this delicate piece.
Brahms wrote Variations on a Theme by Haydn, St Anthony Chorale, as an experimental return to composing for a full orchestra. There are eight variations which highlight different sections, building up to a stately finale. Each was handled with aplomb, by degrees dramatic and subtle, with variable tempi, the orchestra responding well to Lindup.
The orchestra should be very proud of its contribution to this year's Nelson School of Music Winter Festival.

Source: The Nelson Mail, July 10, 2006

Talented teenagers take a bow
Young Musicians' Concerto Concert, with the Nelson Symphony Orchestra under David Lindup. Nelson School of Music, May 20, 2006. Review by Michael Monti

Seven talented teenage musicians had their opportunity to play solo accompanied by the Nelson Symphony Orchestra on Saturday night. It wasn't a competition - although inevitably comparisons will be made. More, it was a chance to display their abilities before supportive family, friends and a wider music audience.
Paul Tarling (Nelson College) played the first movement from Grieg's popular Piano Concerto. This is a dramatic and complex section, but he nevertheless performed with confidence and technical fluency.
Sophia Tarrant Matthews, from Wellington, is barely a teen but looked poised playing the first movement of Haydn's Violin Concerto in G. While the mood of the music is lively, her playing displayed a rich tone.
Michaela Warner (Garin College) continued the Haydn theme with the second movement of the same concerto, a tranquil contrast to the first. Her playing was elegant and lyrical, soaring above the accompaniment.
Ribo Kamaya (Nelson College for Girls) had her proud parents from Japan in the audience. She played the second movement from Wieniawski's Violin Concerto No 2, displaying agile double-stopping and good tone over the entire range
Nathanael Dejong from Christchurch was very accomplished, playing Beethoven's Romance No 2, handling the contrasting sections with a maturity beyond his years.
Shohei Takagi (Nelson College) gave a polished performance of the challenging Kol Nidrei, a piece written for cello and orchestra by Max Bruch. He displayed great control playing this emotionally demanding music.
Tony Lin received a deserved standing ovation for his performance of the first movement of Beethoven's Piano Concerto No 3. This was a stunning performance and when the audience demanded an encore, the 17-year-old University of Canterbury student played an exhilarating adaptation from Prokofiev's Romeo and Juliet.
David Lindup was the link between the nervous soloists and the orchestra, which had the challenge of playing works as diverse as Haydn and Wieniawski with little time for stylistic change in between.
At the end of the concert, Richard Harris, a founder member of the Nelson Symphony Orchestra 40 years ago, spoke of his pleasure in seeing the strength of the orchestra, especially the strings. These included three of the young soloists, who played in their section before or after their performances.
The concept of giving talented young musicians the opportunity to play solo with an orchestra is an excellent one and all involved should take a collective bow for their input into such a great concert.

Source: The Nelson Mail, May 22, 2006

Symphony orchestra a Nelson treasure
40 Years! Nelson Symphony Orchestra, conducted by David Lindup, Nelson School of Music, March 25, 2006. Review by Gail Tresidder

What a concert!
After a short delay as the lights went out to groans, and then on again to cheers, this very special night was sparked off with Weber's Overture to the Opera Preciosa. Until now this overture was unfamiliar to me. As played by the NSO, it has a bright and happy opening, and a little over seven minutes later, ends in a final crescendo of sweet strong sound. In between, the strings are light-hearted, the percussion section spirited, the woodwinds measured and in harmony. Quite delicious and the audience loved it.
It is always a treat to hear Elgar's Serenade for Strings. The orchestra played it beautifully, especially the slow, lyrical second movement which requires precision. A graceful, quintessentially English piece, written with such love for the countryside, it seemed a particularly suitable choice for our early Nelson autumn. Outside the School of Music the deciduous trees are changing colour and there is a fresh crispness to the night air.
|The major work for this celebratory evening, Mendelssohn's Symphony No 3 - the Scottish - was written only five years before he died at the age of 38 of overwork and shock at the sudden death of his loved sister, Fanny. The music of a mature composer, it reflects the man himself. An acknowledged musical genius, Mendelssohn was also a gifted writer, painter and passionate lover of beauty.
His Symphony No 3 is fresh, poetic and melodic. It conjures up so well the Scottish landscape and wild wind, the blustery weather. Purple hills, open moors, the lochs, the songs of the people - it is all there in this evocative music.
The flowing andante, fast and lively vivace, slow and sweet adagio, culminating in the bright and fast allegro, is an elegiac symphonic poem and received due respect from a well-rehearsed orchestra. Special moments for me - the soft plucking of the cellos, passion from the timpani, lilting Scottish air from the wind instruments and the spirited conducting of David Lindup. Nothing matches a live performance, however fine the equipment.
The orchestra included new young faces and it was good to see many young people enjoying the performance. This guarantees another 40 years - at least.
I am sure many of the audience were as disappointed as I was that we did not hear from Lindup at the concert's conclusion. In Last Night of the Proms tradition, we would have liked to personally thank him, as the resident conductor on such an auspicious occasion, with a special cheer, a big round of applause.
A Nelson treasure, The Nelson Symphony Orchestra, up there with Tahunanui Beach - how lucky we are.

Source: The Nelson Mail, March 27, 2006

Orchestra superb with Irons
Nelson Symphony Orchestra, conductor David Lindup, with Diedre Irons, Nelson School of Music, November 19, 2005. Review by Michael Monti

There is no doubt that performers, in whatever endeavour, rise to the occasion. On Saturday night the Nelson Symphony Orchestra responded superbly to the very fine playing of pianist Diedre Irons in Beethoven's Piano Concerto No 1 in C.
From the opening there was expansive playing by both Irons and the orchestra. A lively first movement, complete with three complex cadenzas, was followed by an expressive largo. There was a tacit acknowledgement in the rondo third movement by both soloist and those string players we could see, of a delicate phrase, difficult movement, close harmony, that had gone well.
The orchestra, ably led by David Pucher, was well prepared by conductor David Lindup. The adrenalin of the second half was less obvious in the first for Mozart's Symphony No 41, the Jupiter. It was a sound rather than brilliant performance; often exciting, but with some moments of less-than-perfect intonation and ensemble.
The concerto performance led to prolonged and enthusiastic applause and we were rewarded with Irons playing the Scherzo from Beethoven's Sonata Op 2 No 3.
Orchestra management would have been pleased to see another full house, coming so soon after their previous concert; a reflection of the growing pride Nelson takes in the orchestra under David Lindup.

Source: The Nelson Mail, November 21, 2005

Haydn concert applauded
Nelson Civic Choir presents Haydn. At the Nelson School of Music on the eve of the 200th anniversary of the Battle of Trafalgar. 0ctober 19, 2005. Review by Mike Monti

As Pete Rainey said in Wednesday night's Nelson Mail: this was the only music (in these celebrations) that was around at the time of Lord Nelson. Haydn met Nelson in Vienna in 1800, and wrote a cantata for Lady Hamilton who was also travelling overland from Naples to England. How Haydn's Mass in G minor came to be known as the Nelson Mass is unknown.
"We represent the losers" said Chris Burcin, conductor of Polyhymnos, introducing four mostly unaccompanied French songs. All were sung exquisitely with the usual Polyhymnos style. Ben Morrison, one year away from Burnside High School, soloist in Haydn's Violin Concerto in C, is a musician of enormous potential.
There was a sparkling virtuoso cadenza in the first movement, and in the slow second a pianissimo solo with pizzicato accompaniment. The finale was exhilirating with conductor David Lindup having fine control over both soloist and the excellent chamber orchestra.
Thunderous applause brought an encore: an exciting solo performance by Morrison of a Bach Sarabande in B minor.
The main work of the night was the Haydn Mass with soloists, Nelson Civic Choir, Polyhymnos and Nelson Symphony Orchestra conducted by Pete Rainey. The sound produced by the more than 100 voices was impressive and diction was excellent. Viktoria Dodoka, soprano, Lyndal Howley, contralto, Ewen Griffiths, tenor and Chris Burcin, bass, all excelled as soloists and in ensemble. The Kyrie at the beginning of the mass gave Dodoka opportunity to show her dramatic operatic voice, and I was impressed by Howley's solo in the Agnes Dei. Burcin was strong in the Qui Tollis, Griffiths had clarity of tone in his solo sections.
Rainey marshalled his forces admirably (Lord Nelson would have been proud of him) bringing in all elements with a clear confident conducting style, a reflection of the many hours of rehearsal. Both orchestra and choir rose splendidly to the occasion, giving a truly memorable performance to celebrate this anniversary.
Following sustained applause for all the performers, Dodoka returned for a serene rendition of Mozart's Laudate Dominum.
A great concert for a packed house.

Source: The Nelson Mail, October 21, 2005

Houstoun shows class in exhilarating evening
Nelson School of Music Winter Festival Symphonic Master Works, July 16, 2005. The Nelson Symphony Orchestra, conductor David Lindup and concert pianist Michael Houstoun. Review by Gail Tresidder

Outside the Nelson School of Music there was a sharp cold winter wind; inside a warm welcome for Michael Houstoun and his apparently effortless rendition of the Bach Keyboard Concerto in D Minor.
Houstoun makes playing very fast Bach seem as easy as falling off a log. Sitting calmly at the piano, every single note crisp and clear, he swept us along through the first movement. With Houstoun totally in charge of his instrument and skilfully accompanied by the tender strings of the orchestra, the elegiac second movement was drop-dead beautiful.
A quick glance around me showed rapt faces, an entranced audience. A joyous allegro, strings full tilt, ended the concerto. Bravo Houstoun and bravo David Lindup and the orchestra. Stamping, whistling and vigorous clapping were a well-deserved response from the delighted full house.
The Serenade for Wind in E Flat, composed by 18-year-old Richard Strauss, is very much a young man's work and an ideal piece to show off the current strength of the orchestra's wind section. As a mature composer, Strauss went on to write wonderful music, my particular favourite being Der Rosenkavalier. Of himself, he said modestly, "I may not be a first-rate composer, but I am a first-class second-rate composer".
Nicknamed Papa Haydn, the father of the symphony, Franz Joseph Haydn was a very jolly man who wrote 104 symphonies. His Symphony No 103 in E Flat was composed during the grey, foggy and smoke-filled London winter of 1794-95. It is light-hearted, merry and humorous and includes foot-tapping gavottes and minuets. Ably led by "Queen Nefertiti of the music world", the glamorous and talented Dianna Cochrane, the Nelson Symphony Orchestra produced a real team effort with everyone playing their part admirably.
I'm sure I am not alone in hoping that Cochrane, concert leader of the Auckland Chamber Orchestra and a member of the Auckland Philharmonic Orchestra, will come back very soon to grace the Nelson School of Music.
All three works were finely executed in this exhilarating evening, the first classical concert of the Nelson School of Music Winter Festival.

Source: The Nelson Mail, July 18, 2005

Promising futures for young soloists
Romantic Idols, Nelson Symphony Orchestra with Ben Morrison and Buz Bryant-Greene, Nelson School of Music, April 2, 2005. Review by Richard Rainey

A full house at the Nelson School of Music heard the Nelson Symphony Orchestra and two brilliant young soloists - violinist Ben Morrison, 18, from Christchurch and Nelson's own 20-year-old pianist Buz Bryant-Greene.
Ben Morrison already has impressive qualifications and experience. He has appeared on TV, played with the Auckland Philharmonia and lead his own winning quartet in the New Zealand Schools Chamber Music competition.
Morrison was soloist in Dvorak's Romance for Violin and Orchestra in F minor. His was an assured, matured performance supported by sound technique. This is dreamy music that washes over the listener and his playing was a very pleasing start to the concert. After a slightly tentative beginning, the orchestra settled into some lovely playing and a perfect balance between soloist and orchestra was achieved. Morrison received well-deserved enthusiastic applause.
The Schubert Symphony No 5 followed. This often heard work is possibly a little overdone in the repertoire and is considered by some to have more interest historically than musically. However with the clear, taut conducting of David Lindup it really came to life. The symphony contains engagingly charming melodies which were made the most of by all sections in the orchestra.
Without detracting from Ben Morrison's playing or the orchestra's contribution, the highlight of the evening was Buz Bryant-Greene's superb performance of the Grieg Piano Concerto in A Minor. This young Nelson pianist is studying at Victoria University for a Bachelor of Music in piano performance. His teacher is Diedre Irons, who frequently performs in Nelson. His playing of this concerto demonstrated a maturity and technique far beyond his years and it was a thrill to have a former pupil of the Nelson School of Music playing here with such authority with our own Nelson Symphony Orchestra.
The Grieg is a truly beautiful work which most young pianists must dream of performing. It contains delightful melodies and the young pianist extracted every drop of emotion intended by the composer. It is hard to decide which of the three movements pleases most, but the finale muse surely be the most beautiful ending to any romantic piano concerto.
Bryant-Green's powerful technique and thoughtful phrasing were particularly noticeable and the influence of his teacher Diedre Irons was unmistakable. He was rewarded with a lengthy standing ovation. For an encore he played Gnomenreigen by Liszt.
Conductor David Lindup is getting great results from the symphony orchestra and deserves congratulations for what he has achieved.
The two soloists have promising futures and we will surely hear a lot more from them.

Source: The Nelson Mail, April 4, 2005

A musical night to remember
The Music Within, Nelson Symphony Orchestra and Nelson Civic Choir. Guest artists Victoria Jaenecke and Lucy Rainey, conductor David Lindup. Nelson School of Music, September 25, 2004. Review by Gail Tresidder

The evening started splendidly with Bruch's Double Concerto for Viola and Clarinet. The three movements, Andante con moto, Allegro Moderato and Allegro molto, are rich and melodic.
In the first movement, the orchestra with gentleness, then with increasing crescendo, supported and engaged with Victoria Jaenecke on the viola and Lucy Rainey on the clarinet.
In turn, viola and clarinet took up the themes, playing sweetly together in perfect accord.
The second movement, Allegro Moderato, is an interweaving of melody between the solo instruments and the orchestra. This was carried off with style.
An impassioned start to the final movement, Allegro molto, quickly turned to a light-hearted merry little tune from the soloists and the orchestra, finishing with an echo of the first theme.
This is joyful music, and the audience loved it. We are privileged to have musicians of the quality of Jaenecke and Rainey.
Their calm stage presence and beautiful delineation of this lovely piece will be long remembered.
Next on the programme was Siegfried Idyll, composed by Wagner as a surprise combined birthday and Christmas gift for the woman of his heart, Cosima. In my opinion, it is one of the greatest love songs without words ever written.
There were magical moments, for example Annabelle Laing's bird song sequence on the flute.
Overall though, and despite brave attempts to carry off this ecstatic music, the orchestra was significantly tested at times.
Following the interval, the orchestra and choir combined for Handel's Dettingen Te Deum, written to celebrate the victory of George II and his Pragmatic Army over the French in 1743.
After a hesitant start, as conductor David Lindup said "sometimes you have one of those Saturdays when the best thing you can do is to admit defeat and start again''.
And so they did. Blazing trumpets, powerful singing, the orchestra - all came together happily in the chorus To Thee Cherubim and Seraphim.
However, it is asking a lot of the choir and orchestra, rehearsing in their spare time, to combine for such a huge and demanding piece of church music. All credit to those who took on the challenge.
This was an interesting musical evening, with the undoubted highlight being the Bruch Double Concerto.

Source: The Nelson Mail, September 27, 2004

Ovation well deserved
Nelson Symphony Orchestra with guest pianist Diedre Irons, MBE, and conductor David Lindup performing Symphony No 2 by Sibelius and Piano Concerto No 2 by Rachmaninov, at the Nelson School of Music, July 10, 2004. Review by Richard Rainey

A well-deserved standing ovation with footstamping and whistles was accorded pianist Diedre Irons and the Nelson Symphony Orchestra at the conclusion of the Rachmaninov Piano Concerto No 2 which ended this enjoyable concert before a full house on Saturday night.
The concert comprised two contrasting works - the Sibelius Symphony and the Rachmaninov Concerto.
The Sibelius is terse, grim music evocative of the subdued light of the Finnish landscape but resolves into a mighty song of national triumph.This is taxing music even for the most experienced orchestras. The Nelson Orchestra, despite a slightly shaky beginning, brought the whole work together in a powerful conclusion. There were some tuning problems particularly in the woodwind section. The timpani was prominent - at times crashing and at others threatening rumbles. The orchestra is to be commended for tackling this difficult forceful work.
Irons, probably the country's leading concert pianist, excelled herself with brilliant playing in the Rachmaninov. The work is full of beautiful melodies and it would be a hard hearted listener who would not be moved by the heart tugging final movement of this glorious ultimate romantic concerto.
Irons is a superb pianist and played with complete understanding of the work. When required she displayed tenderness, as shown in the graceful runs in the second movement, and power - very often reinforced by her trademark lifting of her body from the piano stool. The whole work was played as one by the soloist and orchestra. Not only the soloist but the orchestra rose to the occasion and played their hearts out.
Conductor David Lindup deserves great credit not only for his decisive conducting but also for his preparation of the works performed. We are very fortunate to have him in Nelson.
Congratulations to all concerned for a most enjoyable evening and thanks to the concert's sponsors Creative Communities New Zealand and Cafe Affair.

Source: The Nelson Mail, July 12, 2004

Celebration of young talent
Young Musician's Concerto Concert, Nelson Symphony Orchestra, conductor David Lindup, Nelson School of Music, May 29, 2004. Review by David Naylor

Eleven young talented musicians delighted a near capacity audience at the Nelson School of Music by performing several movements from a wide range of the standard concerto repertoire. This was not a competition, it was a celebration of youth and music and how fitting that it was held during the finale of the New Zealand Music Month.
Richard Rainey, a former long-serving chairman of the trust board and a teaching fellow of the school, gave an informative commentary throughout the evening. It was with great pride that he introduced his granddaughter Evie Rainey who played with confidence and expression the first movement of Beethoven's Piano Concerto No3.
Ben Newport ably performed the first movement of Bach's Violin Concerto No 1. Victoria Holden gave a fine interpretation of Mozart's Flute Concerto (First Movement).
Nathanael Dejong from Christchurch performed the very demanding First Movement of the Wieniawski Violin Concerto. This work was both challenging for soloist and orchestra.
Jung Wook Lee, also from Christchurch, displayed outstanding technique and musicianship in his performance of the first movement of Mozart's Violin Concerto No 4.
The Grieg Piano Concerto in A minor is a favourite with everyone and Rachel Tanner played the second movement with great control and maturity of style.
Helen Alderson delicately played the Cimarosa Oboe Concerto.
Darvid Molloy of Motueka gave an expressive interpretation of the second movement of Mozart's Clarinet concerto.
The highlight of the evening was the stunning performance of Mendelssohn's Violin Concerto (First Movement) by Christchurch musician Ann Kim. This young violinist produced a warm sound and had total control of her instrument.
The final work was a very secure performance of Mozart's Sinfonia Concertante featuring Fleur Jackson on violin and Hannahbess Thomson-Laing on viola.
There was excellent rapport between the soloists and the orchestra. The Nelson Symphony Orchestra was in fine form. Overall the balance between soloists and orchestra was well maintained. There were some lovely moments from the French horn section.
The Nelson Symphony is a great asset to the city and would rate as one of the best amateur orchestras in New Zealand.
The Young Musicians Concerto Concert provides the young musicians with a unique opportunity to perform as soloists with a mature orchestra.
Congratulations to the conductor David Lindup, the orchestral musicians, the teachers and most of all to the 11 young musicians for a very enjoyable evening.

Source: The Nelson Mail, May 31, 2004

Inspired leadership in another fine concert
Musical Portraits with the Nelson Symphony Orchestra, conductor David Lindup. Nelson School of Music, March 13, 2004. Review by Michael Monti

In an interview with the Nelson Mail last week, conductor David Lindup talked of his approach in developing the Nelson Symphony Orchestra. My word, when reviewing their last concert, was: "extending". What Lindup has done, rather, is challenge the orchestra to greater heights.
There was no settling of nerves with a gentle overture. From the first fall of the baton there was the full-on excitement of Gershwin's An American In Paris. The orchestra shone with a mix of strident street noises and scintillating rhythms alternating with soft mellow tones and adroit solo lines.
Georg Wagenseil does not rank as a major composer yet he is one of the few to write a concerto for trombone. Czech born soloist Pavel Strobl had the task of making this little-known work entertaining. While his overall sound was good, an overlong cadenza exposed tonal deficiencies at both ends of the instrument's range.
Violin soloist Miranda Adams made it easy to conjure up images of flight in her exquisite playing of Vaughan Williams' The Lark Ascending. We could visualise the bird's journey high into the sky then flitting and swooping. Her warm tone and precise playing projected the beauty of this difficult piece.
Williams' A London Symphony comprised the second half. This was a major work requiring large orchestration; connections within the wider Nelson musical community saw the brass section supplemented. Written more than 90 years ago as "a glorious picture of our nation's capital" it portrays the solid nature of the British people, culture and architecture. There are signs of disquiet in the first movement but gradually lighter signs of daily life and the reassuring sound of Big Ben overtakes them.
There was fine playing from the entire orchestra throughout the concert. I would have thought some of the solo passages deserved recognition at the end, but it would be remiss to acknowledge any when the conductor did not. The orchestra was well led by Adams for the first and last works, and Richard Wells the two in between.
I had occasion to comment on the printed programme last time, and I do so again: if concert-goers pay for a programme which, after all, is the first impression to be gained by the night out, then it should be accurate. Proper proof-reading is fundamental.
Lindup has great rapport with the orchestra. He engages each section as they are brought in and his deliberate conducting style provides encouragement to all the players. Certainly the orchestra continues to develop under his inspiring leadership. Another fine concert.

Source: The Nelson Mail, March 15, 2004

Players rise to the occasion
Stars of the Future. Nelson Symphony Orchestra conductor David Lindup, Nelson School of Music, June 21, 2003. Review by Michael Monti

As the title implies, this was a concert in which young musicians played concerto movements accompanied by the Nelson Symphony Orchestra. Congratulations to whoever came up with this concept.
It is daunting for any young musician to play solo, in a hall unfamiliar to some, with unaccustomed accompaniment, and before a large audience of mainly strangers. Admittedly, we were all receptive and unstinting in our appreciation of the performances of all the young musicians, most of whom rose superbly to the occasion.
The orchestra, under the baton of David Lindup, had the imposing challenge of playing music by composers as diverse as Bach, Hindemith and Rodrigo, without much time for stylistic changes between each.
Mozart's Overture: The Magic Flute gives a foretaste of the opera's drama, and was a good opening to the concert.
The opening movement of Schubert's Unfinished Symphony was the other work for orchestra alone. Some intonation and ensemble problems detracted from this performance, but the music's lyricism and expressiveness shone through.
Louise Maurenbrecher, from Motueka, had the unenviable position of being the first soloist, playing the treble recorder. While initially nervous, she settled well and played accurately and with dexterity.
Tamsin Leenhowers produced a lovely rich tone. Hindemith's Funeral Music for viola is seldom heard in concert and was played with confidence, set against the sometimes ethereal orchestral accompaniment.
Mozart's Piano Concerto in C minor, K 491, is familiar to many. Evie Rainey achieved a good balance with the orchestra and her playing of the Larghetto was sensitive and mature.
Haydn's Trumpet Concerto in E flat is another well known piece, and the solo part is extremely exposed. Dylan Sedgwick from Golden Bay was nervous but made a good effort and looked relieved that his ordeal was over!
Guitarist Hannah Bos played with confidence and a pleasant rounded tone, totally immersed in the excerpt from Rodrigo's Fantasia para un Gentilhombre.
Rachael Shearer's playing of the Rondeau from Mozart's Flute Concerto in D was fluent and sparkling, with a polished cadenza.
The final (and youngest?) soloists came from Motueka and earned the audience's rapturous applause. Aaron Bryce and Jonathan Tanner, at 15 and 13 respectively, played with a maturity far beyond their years. Their performance of the 1st Movement of Bach's Concerto in D minor for two violins was rich in tone, with dynamic contrasts and unflagging tempo.
The overall standard of the evening's performances was high, with all soloists enjoying the warm support of conductor and orchestra. One final mention: Melita Johnston was unobtrusive yet totally competent as stage manager.

Source: The Nelson Mail, June 23, 2003

Passion aplenty as orchestra performs The Italian Job