Show rhythmically complex, purposeful

DSO: Anna Leese, Gloria & Organ Symphony, Dunedin Town Hall, Saturday September 13

My seat for Saturday night’s well-attended concert was in "the Gods". Anecdotally I have heard that the sound in the gods is the best in the auditorium, and now I know that for a fact. There was sparkling clarity at all times, choir tone was strong and well-balanced and their diction was good, the soprano soloists’ glorious tone filled the entire auditorium with ease, and the brilliance of Saint-Saens orchestration allowed each section and at times each instrument, including the piano duet, to sound with individual precision.

Poulenc’s Gloria is a strikingly unusual and dramatic work for choir (City Choir Dunedin, director David Burchell and Choirs Aotearoa Otago/Southland, directors Karen Grylls and Ben Madden), soprano soloist (Anna Leese) and orchestra (Dunedin Symphony Orchestra).

The conductor, James Judd, ensured a cohesive balance between choir, orchestra and soloist. The rhythmic imitation in the choir’s Laudamus te section was charmingly playful, and the male entry at Qui Sedes was deliciously robust.

Leese sang with full-voiced drama in her middle range and exquisitely floated pianissimos in her higher range. Her final Amen was both determined and decisive.

Saint-Saens Symphony No.3 "Organ" unveiled real characteristics of this composer with his use of tone colour, skill with orchestration and development of themes.

The opening movement started with hushed pianissimo sounds but some rhythmic insecurity crept in and the fast-repeated notes in strings and brass lacked precision and sounded laboured. The organ was treated as an orchestral instrument and its subtle entries ensured a legato effect underpinning the orchestra. The introduction of the main theme for the organ builds in a most unusually soft manner, and then hearing "Norma" utter magnificent chords in the capable hands of David Burchell sent a frisson of excitement through the gods. This symphony is rhythmically complex and Maestro Judd worked hard to keep the music bounding forward with a sense of purpose.

Review by Judy Bellingham