After a tough few months for Welsh National Opera and artists associated with the company, and the gambit of emotions in their recent production of Il Trittico, they are on the up. Still an opera company capable of great work, one hopes their funding issues will be ironed out soon.
This evening’s performance by WNO’s Orchestra sets off with The Bartered Bride Overture, by Smetana and no doubt chosen by conductor Tomáš Hanus. Introducing the programme, he mentions how this piece remains exam fodder for music students due to its galloping tempo – indeed, its pace rarely slows and it’s a thrilling few minutes. Bubbly and filled with charm, one wonders when the company might stage this Czech classic again.
Depending on which part of the tour you see, you either get Beethoven’s Violin Concerto, with orchestra leader David Adams, or Mozart’s Clarinet Concerto, with Thomas Verity. The Cardiff audience were offered the latter – pretty safe, standard fare, its place in the canon defined, yet Verity plays it lovingly, as if to welcome those who had never heard it live before. An approachableness stood out, and through cleverness and affection this concerto rarely disappoints.
An odd yet inspired choice of Schumann’s Symphony No. 4 concluded the evening. This time, Hanus’ introduction spoke of the woes artists are encountering at present; the support of concertgoers and opera patrons, he stresses, is greatly appreciated. What followed was a great discovery for me. Best remembered for his songs and piano music, Schumann’s symphonies also convey great power. Well known for troubling mental health issues, some have claimed this bled into his composition.
The symphony is a compact half-hour: its opening features searching strings which seemingly don’t find resolution, themes bolted back in later movements. Another angular, searching melody is touching – and filled with innovation for its era – and the lead violin gets a sumptuous, fleeting solo, albeit one which lands imperfectly at its end.
The opening of the fourth movement heralds a brief, ambient moment for lower strings and woodwind, something which stood out to me; various mood swings are noted at the wrap-up, and here Hanus is erratic, but most wonderful to watch. The conductor’s wild movement and swift musicality was the ribbon upon the gift of this humbling concert.
Orchestra Of Welsh National Opera: Crossing Borders, Royal Welsh College Of Music & Drama, Cardiff, Thurs 11 July
In Aberystwyth on Sun 21 July. Tickets: £23. Info: here
words JAMES ELLIS
