Concert, Sunday 12th March 2000

Lift-off with breathtaking performance:

 LAST things first. A totally breathtaking event occurred at the Sunday afternoon concert by the Norfolk Symphony Orchestra at Lynn Corn Exchange by kind arrangement of Gustav Holst and Fiona Marshall and her singers - aided and abetted by the conductor James Stobart. Neptune, the unique final arrangement of the Planets, requires an act of absolute faith in self-reliance, and total trust in combined and individual abilities to pull off successfully the ending by the hidden high-pitched ladies' voices. Many disasters have occurred with it in far more prestigious venues than our own. The consummate skill of Fiona Marshall -floated us all into the final silence of infinite outer space with magical effect and timeless mystical contemplation, achieving with her singers an absolutely perfect ending rapturously received. The remainder of the Suite brought hardly less success in presenting this unusual but extremely popular British work. The 100-plus NSO was in fine form with six horns, quadruple wind sections, two harps, celesta and eight percussionists (six timps), and explored to the full the dramatic richness, delicate nuance and magnificent orchestral colour. The solo playing, as is usual with this orchestra, was decidedly excellent - particularly some excellent horn playing, and the strings at this size and opulence afford a rare opportunity outside the big cities to present the pieces, which are scored for such enormous requirements.

The visiting soloist in the Bruch violin concerto was Priya Mitchell. I have to say that on the day I was tempted to wonder if she was off colour and has not yet completely recovered, as the reading was slightly less fulfilling than I wanted. Immaculately executed of course - note perfect - intonation virtually absolute, and body language quite clear, but just lacking that powerful level of communication to my ear that I expected. The slow movement did not fail me, but the grudging overall message was a little introverted and perhaps I missed it. The concert began with the Ravel Pavane and it came off well, as it is an absolute gem, but still needs a very clean polish to catch an absolutely perfect light or it might easily be a little matter of fact, but I am still marvelling at the magnificent Planets!

Neville Mackinder, "Lynn News", Friday 17/03/00.

Concert, Sunday 14th May 2000

Quality from symphony orchestra:

Some years ago a Northern gentleman informed me that Norfolk is a cultural wilderness, with no musicians of quality. If it were necessary, that old chestnut was laid to rest on Sunday with the concert given by the Norfolk Symphony Orchestra, with conductor James Stobart, at Lynn's Corn Exchange. From the opening, wistful chords of Tchaikovsky's Romeo and Juliet overture, it was evident that here was an ensemble equal to many full-time professional orchestras. They responded as one to the conductor's wishes throughout with a richness in the playing, particularly the strings in the love theme. In this he wisely avoided the common practice of over-emotionalising it. Also there was notable dialogue between the various voices of the orchestra. The central work of the concert was Elgar's cello concerto in which the advertised soloist was Liwei Quin but, as James Stobart explained on Thursday, he had developed dead arm and was unable to play.

Superb Musicianship:

Another soloist was available to fill the vacancy: On Friday morning Thomas Carroll was in Vienna, on Friday afternoon he was in Downham and on Sunday he was playing what is almost certainly the best known and best loved cello concerto, in Lynn's Corn Exchange. What a find!! Thomas Carroll brought to the work superb musicianship, formidable virtuosity and great interpretative ability, producing a memorable performance with a glorious tone throughout, most notable in the poignant slow movement. The final item was Dvorak's Seventh Symphony, not as well known as The New World, but a great work given a great performance. Not as Bohemian in character as much of Dvorak's other work, it reveals all of his freshness of melody and depth of feeling brought out in this immensely satisfying performance, in which all sections of the orchestra gave of their best. As a member of the audience remarked to me after the concert: 'My word, there was a lot going on in that symphony!' There certainly was.

David Johnson, "Lynn News", Tuesday 16/05/00.

Young cellist steps in and shines:

One minute Thomas Carroll was immersed in studying the cello in Vienna, the next he was on his way to Norfolk - and last night, he took a sell-out audience by storm. The career of Carroll will be watched with keen interest by the 700 people captivated by the young cellist's talents. It is, as they say, an ill wind. Liwei Qin should have been the soloist for Elgar's Cello Concerto with the NSO but four days before the concert it became clear a finger injury would stop him playing. Step in Thomas Carroll, winner of the string section of the 1992 BBC Young Musician of the Year, who woke up in Vienna on Friday but by nightfall was rehearsing with the NSO at Downham Market.

He displayed great stage presence and gave a virtuoso performance full of confidence and verve. Conductor James Stobart scored another triumph, achieving excellent balance between soloist and orchestra. The programme opened with a superbly executed Overture to Tchaikovsky's Romeo and Juliet and concluded with equal panache as the orchestra played Dvorak's Seventh Symphony.

Alison Croose, "Eastern Daily Press", Monday 15/05/00.

Concert, Sunday 9th July 2000

Playing of highest order:

The standard for this concert was set from the beginning with the Overture from Glinka's second opera, Ruslan and Ludmilla. It was taken at what can only be described as a "cracking" pace, with a rich orchestral sound.

The soloist in Beethoven's Piano Concerto in G Major was Elizaveta Kopelman who displayed interpretation of maturity belying her years. A formidable technique, beautiful tone with a clarity of articulation combined to give a sublimely satisfying and memorable performance. Tchaikovsky's Symphony No 6 in B Minor, the Pathetique, made up the second half of the concert. This is the musical outpouring of a tormented soul, with a display of turmoil and inner conflict in the outer movements. Throughout conductor James Stobart drew playing of the highest order, highlighting Tchaikovsky's musical invention while not over indulging in the emotional aspects of the work. As with Glinka, the third movement, the March, was taken at a fair pace, building up a tension that resulted in a spontaneous round of applause before moving to the pathos-ridden fourth movement, ending in a darkness of despair. Credit must go to the essentially amateur orchestra for its contribution to this deeply satisfying programme.

David Johnson, "Eastern Daily Press", Monday 10/07/00.  

Concert, Sunday 19th November 2000

The wonders of a virtuoso:

There was a warm welcome back for internationally-renowned violinist Xue-Wei who again captivated the NSO and its large and enthusiastic band of supporters. The 37-year-old Chinese-born virtuoso, who is now living in America, was clearly delighted to accept an invitation to return to Norfolk - and the audience was more than pleased to see and hear his performance. Brahms' Violin Concerto was the high spot of the first concert of the NSO's new season. Under the direction of accomplished conductor James Stobart, soloist and orchestra worked well together and the audience was able fully to appreciate Xue-Wei's emotional performance of high technical quality, especially in the thrilling finale.

The programme opened with Wagner's emotional Prelude and Liebestod. The orchestra wonderfully captured the mood of this work, as it certainly did the inspirational and dramatic Death and Transfiguration, Richard Strauss's musical expression of the feelings of a dying man reflecting on his life and aspirations. The orchestra goes from strength to strength with high-quality performances earning the admiration of hordes of devoted followers who continue to pack the venue.

Alison Croose, "Eastern Daily Press", Monday 20/11/00.

NSO shows the Wei with dazzling night:

Three works from the German repertoire made up the programme in Sunday's concert by the Norfolk Symphony Orchestra at Lynn's Corn Exchange. The opening piece was Prelude and Liebestod from Wagner's Tristan and Isolde, which is not dominated by brass (notably horns) as is much of Wagner's music, but opens with cellos and wind, setting the mood of the opera but stating the chief love motive before leading the listener through the passion of the work to its climax. Throughout the orchestral playing was superb, as they responded to conductor James Stobart's every wish.

Death and Transfiguration by Richard Strauss is a portrayal of a dying man's struggle, as memories of childhood intertwine with pain until death takes him from his suffering. The work places great demands on every section of the orchestra, which, once again, gave of its all in this highly complex work. I must confess that I am not over familiar with these two pieces, but certainly look forward to hearing them again.

RAVISHING

The main work of the evening was Brahms' Violin Concerto, with soloist Xue-Wei making a welcome return to Lynn. This is a work that makes great virtuosic demands on the soloist, Wei more than rising to the challenge with dazzling technique, notably in the solo cadenza at the end of the first movement. He then produced a ravishing tone in the slow movement, before producing more musical fireworks in the third. Throughout James Stobart demonstrated that he is a master of the art of accompanying, as he led his forces through the work with soloist and orchestra as one. At the end of the concert the capacity audience showed its appreciation by bringing back soloist and conductor for repeated calls.

I, for one, look forward to the next concert by the NSO.

David Johnson, "Lynn News", Friday 24/11/00.