Three hundred years of music enthrals audience
Dunedin Symphony Orchestra
King's & Queen's PAC,
Sunday, August 17
A large audience was kept spellbound by a programme of extraordinary music spanning 300 years in the Dunedin Symphony Orchestra's "Amalia Plays Piazzolla" matinee concert on Sunday.
The raked seating in the King's & Queen's Performing Arts Centre provides audience members with a clear view, which came in handy on Sunday with composer Nathaniel Otley joining the orchestra on stage for the performance of his piece this rising tide, these former wetlands.
An eerily evocative work, combining rising and falling string sounds, found objects in percussion, fingernails on timpani, rarely seen instruments such as the contra base flute, recorded voices and the sound of heavy rain, was an intriguing exploration of South Dunedin's most difficult day during flooding in 2015.
Under the baton of guest conductor Brent Stewart, the DSO brought the complex rhythms and dynamics of the this rising tide, these former wetlands to the fore in a very special performance.
Adding to the momentous nature of the occasion, the performance of work was illuminated in part by light sculptures of weather maps by the composer's father Jonathan Otley.
The orchestra was then joined on-stage by leading New Zealand violinist Amalia Hall as soloist for an exuberant performance of Piazzolla's tango-inspired Four Seasons of Buenos Aires — a spirited homage to Vivaldi's famous Four Seasons.
Tackling the piece's many fiendishly difficult, virtuosic passages with apparent ease, Hall's performance was masterful in every respect.
The DSO kept up superbly throughout the piece, with principal cello Heleen du Plessis and concertmaster Tessa Petersen adding to the joy with glorious solo passages.
After thunderous applause, Hall returned to the stage with a stunning encore performance of the tango tune La Cumpasita.
The concert's second half — Mozart's light-hearted Symphony No.39, was conducted from memory by Stewart, whose evident enjoyment of its beauty and rhythms inspired the orchestra to new heights.
The symphony's dance passages and many musical jokes kept the audience smiling throughout.
All in all, Sunday's concert was a very special musical experience indeed. Bravo!
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Otago Daily Times
a day ago
- Otago Daily Times
Three hundred years of music enthrals audience
Conductor Brent Stewart. Photo: Steve Montgomery AMALIA PLAYS PIAZZOLLA Dunedin Symphony Orchestra King's & Queen's PAC, Sunday, August 17 A large audience was kept spellbound by a programme of extraordinary music spanning 300 years in the Dunedin Symphony Orchestra's "Amalia Plays Piazzolla" matinee concert on Sunday. The raked seating in the King's & Queen's Performing Arts Centre provides audience members with a clear view, which came in handy on Sunday with composer Nathaniel Otley joining the orchestra on stage for the performance of his piece this rising tide, these former wetlands. An eerily evocative work, combining rising and falling string sounds, found objects in percussion, fingernails on timpani, rarely seen instruments such as the contra base flute, recorded voices and the sound of heavy rain, was an intriguing exploration of South Dunedin's most difficult day during flooding in 2015. Under the baton of guest conductor Brent Stewart, the DSO brought the complex rhythms and dynamics of the this rising tide, these former wetlands to the fore in a very special performance. Adding to the momentous nature of the occasion, the performance of work was illuminated in part by light sculptures of weather maps by the composer's father Jonathan Otley. The orchestra was then joined on-stage by leading New Zealand violinist Amalia Hall as soloist for an exuberant performance of Piazzolla's tango-inspired Four Seasons of Buenos Aires — a spirited homage to Vivaldi's famous Four Seasons. Tackling the piece's many fiendishly difficult, virtuosic passages with apparent ease, Hall's performance was masterful in every respect. The DSO kept up superbly throughout the piece, with principal cello Heleen du Plessis and concertmaster Tessa Petersen adding to the joy with glorious solo passages. After thunderous applause, Hall returned to the stage with a stunning encore performance of the tango tune La Cumpasita. The concert's second half — Mozart's light-hearted Symphony No.39, was conducted from memory by Stewart, whose evident enjoyment of its beauty and rhythms inspired the orchestra to new heights. The symphony's dance passages and many musical jokes kept the audience smiling throughout. All in all, Sunday's concert was a very special musical experience indeed. Bravo!
Otago Daily Times
a day ago
- Otago Daily Times
First airing of piece on plight of S. Dunedin
Nathaniel Otley walks along a street in South Dunedin. It was the flooding of this area that inspired his work 'This rising tide, these former wetlands'. PHOTO: PETER MCINTOSH Nathaniel Otley's work this rising tide, these former wetlands focusing on the plight of South Dunedin suburbs was given its world premiere before a packed house in the King's and Queen's Auditorium on Saturday. It is a highly experimental work using recorded material, the spoken word, alongside explorative use of traditional and innovated instruments as performed by the Dunedin Symphony Orchestra under the baton of Brent Stewart. Incorporating industrial sounds of beaten metal and scraped wire, its ominous aura illustrates the fear of rain experienced by most whose home and hearth lie no more than 50cm above the water table. Otley's work, born of that community's experience, is appropriately and successfully chilling. It becomes a demonstration of art's clarion call to policymakers and the important social role played by arts benefactors. The willingness of all sections of the orchestra and audience to engage with Otley's challenge is hugely commendable. Guest virtuoso Amalia Hall's performance of Piazzolla's Four Seasons of Buenos Aires was stunning. The work arranged for orchestra by Leonid Desyatnikov subverts Vivaldi's Four Seasons into the southern hemisphere. Direct and not-so-direct quotes drew giggles from the audience. Its exhaustive demands on Hall's stamina and flourishes drew gasps of amazement. Solo sections for cellist Heleen du Plessis and violinist Tessa Petersen provided beautiful serenity in an otherwise frenetically spirited work. Hall wowed the audience again with a generous encore of La Cumpasita. Stewart's spritely leadership of Mozart's 39th Symphony created a joyous performance full of the whimsy and poise for which Mozart is rightly renowned. Every one of the four movements was performed with enthusiastic excellence. Also born out of troubled times and a sharply divided society, it celebrates music's ability to exercise the mind while providing solace with snatched moments to smile at the sun.
Otago Daily Times
13-08-2025
- Otago Daily Times
Programme ‘quite a ride'
Versatile, Wellington-based conductor Brent Stewart has returned to Dunedin this week amid preparations for the Dunedin Symphony Orchestra's "Amalia Plays Piazzolla" matinee series concerts. The two concerts, to be held on Saturday from 5pm and Sunday from 3pm at King's & Queen's Performing Arts Centre, will showcase a programme ranging across more than two hundred years. Stewart, who last conducted the DSO during the "Synthony" concert in Christchurch last year, which fused electronic dance music and classical music together, is thoroughly enjoying working with the orchestra again. "We are preparing a fascinating programme for this weekend's concerts, from Nathaniel Otley's extraordinary new work to one of Mozart's greatest symphonies — it's going to be quite a ride," Stewart said. Opening the concert, Otley's piece — the rising tide: these former wetlands , inspired by the environmental changes in South Dunedin — required orchestra members to adopt a range of unusual techniques to bring the composer's vision to life. "We are bringing Nathaniel in to all of our rehearsals of the piece, to give support, feedback and answer the musicians' questions," Stewart said. "He has a lot of very specific requirements for sounds, including using quarter tones, specific timbres, tongue slaps, fingernails on the timpani, unusual bowing techniques and even incorporating sculptures. "It can be quite challenging, so we are doing a lot of workshopping in rehearsals, which has been fascinating." Otley himself would participate in the performance, controlling sample sounds alongside the orchestra. "This piece has been Nathaniel's main focus for this year, so we really want to honour his amazing work by giving it the best possible premiere performance." The orchestra will then be joined on stage by leading New Zealand violinist Amalia Hall for a performance of Piazzolla's Four Seasons of Buenos Aires , arranged by Ukrainian composer Leonid Desyatnikov. Written in 1970, the piece is described as a tango-infused answer to Vivaldi's famous Four Seasons, which includes "quotations" from the original work. "I am lucky enough to work with Amalia quite regularly in Wellington, and she is a prodigious talent. "It is impressive how quickly she can learn music by heart and her ear is amazing," Stewart said. There were moments throughout the piece where the orchestra section leads would play with Hall in a kind-of string quartet formation, and there were many high-spirited moments throughout. "It's one of those pieces where you can see the players really enjoying themselves — it's groovy, uplifting and very accessible. "I think we are in for a very special performance of this really fun and interesting work." During his last visit to Dunedin in 2023, Stewart conducted the DSO in a performance of Mozart's Symphony No. 41 , so it is fitting that on his return he will conduct another brilliant late-career masterpiece — Mozart's Symphony No. 39 . "Mozart's final three symphonies, which he wrote in a great flurry of activity, are considered among his greatest. "The Symphony No. 39 has a great sense of dance running through it, and will be a lovely way to round out the concert." As a freelance conductor, working on developing his career, Stewart is working with a range of musical organisations, including as musical director of Orpheus Choir in Wellington, NZ Secondary School Choir, Orchestra Wellington, the New Zealand Symphony Orchestra, NZ Opera, NZ Ballet and the DSO. He was recently named the NZ Opera Friedlander Foundation Associate Artist for 2025. "I am having a very busy year, which is great and gives me opportunities to continue building my relationships with musical organisations here and overseas," he said.
