The lengthy applause said it all.
Each audience member was captivated by the orchestra’s recital of works by Elgar, Tchaikovsky and Schubert.
The light and fanciful tone of the Edwardian composer’s Sanguine Fan Op. 81 was interpreted beautifully by strings and woodwind which demonstrated how it suited its commission as a short ballet.
This introduced the performance perfectly and the strength of sound filled the room. But it was young guest solo cellist Gemma Rosefield’s in Tchaikovsky’s Variations on a Rococo Theme Op. 33 who gripped visitors.
Her unwavering passion through every movement was magnificent. The speed and deftness in which she used her 1704 former Prince Regent instrument was astounding. Emotion poured from her through the performance, from her facial expressions, to the tips of her fingers and her feet.
It was exhausting, intense and exciting to watch.
Conductor Barry Wordsworth brought vigour to every twist and turn of each score, but particularly the climax of Schubert’s Symphony No.9 in C Major (Great).
There was a brief interruption between Elgar and Tchaikovsky while staff altered the staging as Mr Wordsworth addressed the audience before Ms Rosefield’s arrival. While a little haphazard, it did not upset the flow of the concert and was quite entertaining.
The house should have been full for such an accomplished programme.
Four stars
Comments: Our rules
We want our comments to be a lively and valuable part of our community - a place where readers can debate and engage with the most important local issues. The ability to comment on our stories is a privilege, not a right, however, and that privilege may be withdrawn if it is abused or misused.
Please report any comments that break our rules.
Read the rules hereComments are closed on this article