The Queensland Symphony Orchestra is turning into a world class orchestra, under the baton of Umberto Clerici. Last week they played Abassi, Brophy and Mozart. This week it is Debussy, Respighi and Stravinsky.
The audience raised the roof with appreciation for Circa’s extraordinary dance / circus in front of the full orchestra playing “The Rite of Spring”. There’s an engagement happening between the QSO and Brisbane audiences. The QSO is reaching out to the audience, with new CEO Michael Sterzinger welcoming newcomers, welcoming back long-term subscribers and acknowledging visitors from overseas. It knows its audience and is making everyone feel at home. The program explains the key terms that explain the program, and the listening notes lead one through the performance, adding a deeper appreciation for the music and the team work of the QSO.
Westenders will appreciate that the music is being selected with an ear cocked to the ebbs and flows of world politics. The Director’s Note comments: “Recent history shows that wearing a suit and winning an election are neither marks of civilisation nor guarantees against savagery.”
Stravinsky composed before World War I and his music warned audiences of “the blood-rimmed tide” afoot. It’s a privilege to be in the audience tonight, knowing “how beautiful it is and how easily it can be broken”. We can lose the lot so quickly, so flock to the QSO performances.
The program began traditionally enough with Debussy’s “L’apres-midi d’un faune” (Prelude to “the Afternoon of a Faun”). It was gentle with Alison Mitchell’s flute emerging out of the silence of the Concert Hall. Then the harps and horns joined in until the strings filled out the sound. It was light, it was lovely, it was impressionistic and it took us on a gentle journey, echoing the innocence of a life of freedom and joy.
Ottorino Respighi’s “Concerto Gregoriano” followed, and solo violinist Kristian Winther held us spellbound. The piece began sedately enough, echoing the peace of the Debussy, but storm clouds were brewing. Winther’s clear notes bridged the world of innocence and a more complex world. It was a mesmerising performance, played with heart. The orchestra and he bounced off one another with the third movement resolving in the big sounds of the brass leading into the full-throated orchestra.
After interval came the Stravinsky and Circa. I was looking forward to listening to the “Rites of Spring”, mainly to learn what caused the ruckus in 1913 Paris when it was first played. But the Circa performance took my full attention. Ten dancers / acrobats enacted the music in front of the full orchestra. The used their bodies to reproduce the music in action, demonstrating its erratic nature and capturing the audience. Their timing was perfect. The Choreography was complex and demanded strength and agility and they echoed the music with every twitch of their muscles. I can’t give justice to their performance. If you can, go and see it. They received a spontaneous standing ovation. Lighting, costumes and split-second timing all gave a much deeper meaning to Stravinsky’s work than I’d anticipated.
There are two more performances at the Concert Hall: Friday 7.30pm and Saturday 22 February at 1.30pm. Book at: https://qso.com.au/events/2025/special-events/the-rite-of-spring
Photo by Sam Muller
Kerry McGovern
