The historic Winthrop Hall in Perth resonated with extraordinary musical talent last Friday evening as the WA Symphony Orchestra, under the masterful baton of principal conductor Asher Fisch, delivered a powerful program featuring works by Tchaikovsky, Mozart, and Wagner.
The concert's centrepiece was a breathtaking performance by internationally acclaimed cellist Li-Wei Qin, who captivated the audience with his interpretation of Tchaikovsky's Variations on a Rococo Theme.
A Virtuoso Cellist Takes Centre Stage
From the first note, Li-Wei Qin commanded attention with his 1780 Guadagnini cello, producing a sonorous tone that filled the entire hall. His performance was a masterclass in musical expression, seamlessly transitioning from whimsical, light-hearted passages to moments of profound depth and intensity.
Qin displayed a remarkable range of techniques, from crystal-clear vibrato to swooning glissandi, exploring the full emotional spectrum of Tchaikovsky's composition. He was brilliantly supported by the orchestra's cello section, whose balletic opening set the stage for an unforgettable musical journey.
Throughout the variations, the soloist and orchestra engaged in a captivating dialogue. Flautists Mary-Anne Blades and Sonia Croucher provided a melodious interlude, while clarinettist Som Howie echoed the muscular edge of Qin's playing. Conductor Asher Fisch gave the cellist free rein, intervening only to guide the orchestra's punctuated entries.
Mozart's Grace and Wagner's Grandeur
The evening commenced with a precise and delicate rendering of Mozart's Symphony No.29. Fisch employed the lightest of touches, allowing the bright classical chords and melodic flourishes to shine. The second movement, Andante, dawned cool and collected, with strings setting a stately tone for oboists Liz Chee and Stephanie Nicholls, and horn players Eve McEwen and Francesco Lo Surdo.
Following the interval, Fisch indulged his passion for Wagner, opening with the Parsifal Act III Prelude and Good Friday Music. Barely-there high strings, punctuated by basses, stirred the stage to life, gradually building to a broad symphonic effect with the full brass section.
The concert concluded with extracts from Wagner's only comedy, Die Meistersinger. Solemn cellos opened the Act III Prelude, giving way to mellifluous brass and horns. A flurry of activity flagged the Dance of the Apprentices, accelerated by brass and a stentorian trumpet from Jenna Smith.
A Triumphant Evening for Perth's Arts Scene
The performance demonstrated the exceptional cohesion between conductor, soloist, and orchestra. Fisch, as the central dramatis persona, layered motifs and themes with expert precision, drawing all elements together in a final, luminescent chord for the Wagner pieces.
As an encore before the interval, Li-Wei Qin offered a crisp and stark performance of the Courante from Bach's Cello Suite No.3, calming the mood and showcasing his versatility beyond the Romantic repertoire.
This concert reaffirmed the WA Symphony Orchestra's status as a premier cultural institution in Australia. The audience was treated to a night of technical mastery and emotional depth, leaving them exhilarated by the quicksilver changes and exhilarating conclusions.
WASO returns to Winthrop Hall for Beethoven's Five Piano Concertos from November 26-30, promising another unmissable series for classical music enthusiasts in Perth.
