Borodin Prince Igor: Overture Shostakovich Violin Concerto No.1 Bartók Concerto for Orchestra
Bartók was a dying man when he composed his final masterwork. Free and exuberant, the Concerto for Orchestra is a summation of his life and his music, as well as being a stunning showpiece for a virtuoso orchestra.
Shostakovich’s electrifying, harrowing concerto calls for a violinist of steel and power. Joining us for the first time since winning the 2017 Michael Hill International Violin Competition, Ioana Cristina Goicea promises to make it a performance to remember.
To begin the concert, Borodin’s thrilling overture to his barbarously exotic opera Prince Igor.
Auckland Philharmonia Orchestra's Power & Brilliance concert fulfilled the promises of its title with two major 20th century masterpieces, one featuring the winner of last year's Michael Hill International Violin Competition.
True, it was unfortunate that the opening overture, from Borodin's Prince Igor, had been played by the New Zealand Symphony Orchestra only three weeks ago. However, despite a few moments of unsettled ensemble, conductor Alan Buribayev fashioned a zesty launch pad out of it.
If memories of Alina Ibragimova's transcendent 2011 performance of Shostakovich's First Violin Concerto lingered with some in the audience, then here the orchestra contributed a special vigour and commitment behind soloist Ioana Cristina Goicea, putting her own stamp on an extraordinary score.
There are such grim beauties in this 1948 work, cries from the heart in times of unrelenting Stalinist repression. Goicea explored the full expanse of its emotional terrain; her unwavering lyricism in the Nocturne and vibrant song in its dark Passacaglia contrasted with the scherzo's barbed lightning and the knockabout ironies of its Big Top Burlesca.
Her absolute assurance in Shostakovich's extremely taxing cadenza was a preview, in many respects, for an encore to come — a lingeringly buoyant Bach Sarabande.
Shostakovich Violin Concerto No.1
Bartók Concerto for Orchestra
Bartók was a dying man when he composed his final masterwork. Free and exuberant, the Concerto for Orchestra is a summation of his life and his music, as well as being a stunning showpiece for a virtuoso orchestra.
Shostakovich’s electrifying, harrowing concerto calls for a violinist of steel and power. Joining us for the first time since winning the 2017 Michael Hill International Violin Competition, Ioana Cristina Goicea promises to make it a performance to remember.
To begin the concert, Borodin’s thrilling overture to his barbarously exotic opera Prince Igor.
Auckland Philharmonia Orchestra's Power & Brilliance concert fulfilled the promises of its title with two major 20th century masterpieces, one featuring the winner of last year's Michael Hill International Violin Competition.
True, it was unfortunate that the opening overture, from Borodin's Prince Igor, had been played by the New Zealand Symphony Orchestra only three weeks ago. However, despite a few moments of unsettled ensemble, conductor Alan Buribayev fashioned a zesty launch pad out of it.
If memories of Alina Ibragimova's transcendent 2011 performance of Shostakovich's First Violin Concerto lingered with some in the audience, then here the orchestra contributed a special vigour and commitment behind soloist Ioana Cristina Goicea, putting her own stamp on an extraordinary score.
There are such grim beauties in this 1948 work, cries from the heart in times of unrelenting Stalinist repression. Goicea explored the full expanse of its emotional terrain; her unwavering lyricism in the Nocturne and vibrant song in its dark Passacaglia contrasted with the scherzo's barbed lightning and the knockabout ironies of its Big Top Burlesca.
Her absolute assurance in Shostakovich's extremely taxing cadenza was a preview, in many respects, for an encore to come — a lingeringly buoyant Bach Sarabande.