Orchestra Wellington Concludes Season with Acclaimed Performance

Orchestra Wellington celebrated a successful conclusion to its season on November 22, 2023, with a concert titled “The Artist Repents.” Conducted by Marc Taddei, the performance featured soprano Barbara Paterson, tenor Alexander Lewis, and the Tudor Consort. The evening highlighted compositions by Victoria Kelly and Dmitri Shostakovich, marking a triumphant end to a season dedicated to exploring Shostakovich’s early career.

The concert took place at the Michael Fowler Centre and opened with Kelly’s poignant work, “Requiem.” This composition combined elements of the Latin Mass for the dead with five local poems, creating a rich tapestry of sound and emotion. The performance incorporated soloists, the Tudor Consort, and a piano-driven orchestral arrangement, resulting in a complex yet unified musical language.

Kelly’s composition effectively captured the multifaceted nature of grief. The underlying simplicity of the chords offered a sense of consolation, while the more unconventional tonalities expressed the unresolved feelings associated with loss. The settings of the poems, which included works by Bill Manhire and Chloe Honun, were executed with skill and sensitivity. Nonetheless, there were moments, particularly in the fourth movement, where the soloist’s lines became indistinguishable, diminishing the overall impact.

A standout moment occurred during the second movement, which featured a setting of Sam Hunt‘s poem “Requiem.” Over a meditative piano backdrop, tenor Alexander Lewis performed with remarkable emotional depth, showcasing his extraordinary vocal capabilities and bringing a poignant grace to the melody.

Shostakovich’s Fifth Symphony Shines

The second half of the concert brought the season’s narrative arc to a close with a powerful rendition of Shostakovich’s Fifth Symphony. This work, often interpreted as a concession to Soviet ideology or a subtle critique of it, remains one of the composer’s most celebrated pieces.

Taddei’s leadership was evident from the opening notes, where his deft touch transformed the initial restraint into a powerful statement. The first movement’s military march was delivered with a grotesque intensity that set the stage for the rest of the symphony.

In the second movement, a peculiar, limping waltz, themes were exchanged among the orchestra with a disciplined lightness. Despite minor timing issues, the third movement displayed a sensitivity that captured the essence of lament, resonating deeply with the audience. Historical accounts indicate that the emotional weight of this movement brought tears to the eyes of its original listeners.

The programme text noted the ambiguity of the symphony’s conclusion, questioning whether it represents a victory for the regime or Shostakovich himself. Regardless, the triumph of this season is unmistakable, showcasing the orchestra’s ability to bring to life a crucial period in artistic history.

Orchestra Wellington’s dedication to exploring challenging works has proven both ambitious and rewarding. The season’s success is a testament to the talent and commitment of its musicians, firmly establishing them as a vital part of the cultural landscape.