N.Z.S.O. ‘Summer Pops’

Press, 3 February 1986, Page 4

N.Z.S.O. ‘Summer Pops’

New Zealand Symphony Orchestra conducted by John Lanchbery in “Summer Pops” at the Town Hall Auditorium, February 1, 8 p.m. Reviewed by Philip Norman. As with Friday's concert, it was the work of Raymond Spasovski that provided the focal point of interest in the second Summer Pops programme by the New Zealand Symphony Orchestra. On Saturday evening, this young Macedonian pianist gave an elegant account of T-isrPs Piano Concerto in E-flat Raymond Spasovski communicates well with his audience. His physical movement is graceful and economical, ~,s ou! }d warm and intelligently conceived. In terms of wringing out the decibels he is not u especially powerful niavwr. No matter, for the of his playing

lies in the emotional intensity generated during quieter passages. His fluid solo in the Quasi adagio movement was a particularly fine example of this.

The orchestral accompaniment throughout was commendably sensitive, a happy change from the rather blunt-edged sound in evidence during the “Rhapsody in Blue” of Friday evening’s concert. On the subject of solos, the orchestra’s rendition of Rimsky-Korsakov’s “Capriccio Espagnole” produced some pleasing lines from various individual instruments. However, this work was included at the end of the programme more for its riotous close — a swirling Fandango which was delivered with compelling vigour by the orchestra. Elsewhere on the programme, the innocent -mischief of Dukas’ “The Apprentice”

charmed. Suppe’s “Poet and Peasant” overture provided a solid, undemanding opening to the concert Of less success were a rather limp version of Vaughan Williams’ “Fantasia on Greensleeves” and a pedestrian arrangement by the conductor, John Lanchbery, of tunes from Offenbach’s “Le Papillon” ballet.

Three of Dvorak’s “Slavonic Dances” (Nos. 5, 7 and 8) were given rather cursory treatment by the orchestra. The formula of high orchestral amplitude equalling high audience excitement, adopted by John Lanchbery for these Pops concerts, reached its extreme in the well known eighth dance. The barrage of percussive accompaniment was so overwhelmingly loud that only the merest whiff of a main melody was discernible. y