http://www.sydneyartsguide.com.au/willoughby-symphony-last-night-of-the-proms-at-the-concourse-chatswood/#more-25525 n the grand tradition of Last Night of the Proms at the Royal Albert Hall, this was a quintessentially British concert with several old favourites included. Music lovers came to the concert determined to enjoy themselves and that they certainly did. This was a return to our Imperial British roots. Her Majesty Queen Victoria would have loved it.
The concert, held at the Concourse, Chatswood where the WSO is the resident orchestra, featured huge cast of performers with the combined forces and talents of the Willoughby Symphony, the Willoughby Choir and the Willoughby Band.
Dr Nicholas Milton conducted with gusto and flair, and introduced the various works and soloists.
The concert began with William Walton’s stately, shimmering Crown Imperial, featuring its crashing percussion. (This piece was revised in 1953 for Queen Elizabeth 11’s coronation and was the recessional for Kate Middleton and Prince William’s wedding) .
Then came Handel’s Zadok the Priest , which has been sung at every British coronation since 1727, with its lush string opening and thunderous choir. The ‘Rejoice!’ bubbles, burbles and leaps joyously to a dynamic, well nigh dizzying finale.
Following on from this piece was Elgar’s Enigma Variations, Op.36 featuring soft, melancholic strings with the woodwind and horns eventually joining them. The strings built up to an almost turbulent passion and went far softer towards the end.
Waxman’s Carmen Fantasy followed, featuring superb playing by soloist Josephine Chung on violin. Chung wore a stunning long, elegant red lacy dress.
Originally composed for the 1946 film Humoresque, this piece adapts some of the much loved Bizet opera Chung and her violin became the fiery voice of Carmen , dramatic, mesmerizing and passionate. The violin sang and flirted seductively, and rippled in the wild Flamenco and gypsy rhythms. Chung deservedly received repeated thunderous curtain calls.
The stirring, thrilling Anvil Chorus from Verdi’s Il Trovatore, not listed in the programme, followed. The very moving, haunting, wistful and melancholic Londonderry Air, as arranged by Percy Grainger, came next. And to take us to interval we heard the ultra- British (almost their second national anthem) Land of Hope and Glory – Elgar’s Pomp and Circumstance March No .1.
First work after interval was John Williams’ electrifying Olympic Fanfare and Theme (1984) which required extra horn players and crashing cymbals.
That was followed by the catchy, jaunty and inspiring The Dambusters March by E Coates. The lofty, exuberant heights of Handel’s Hallelujah Chorus, from The Messiah, with the choir singing magnificently, followed.
To complete the official part of the programme we then had a dynamic, towering performance of Tchaikovksy’s 1812 Overture – dramatic ,turbulent and passionate but at times lilting and lyrical with hints of his Nutcracker and Swan Lake.
One of the fiery, speedy Brahms Czardas with sharp, languid pauses, was played as an encore. Then came Blake’s Jerusalem, many in the audience singing along with the choir, with the assistance of the lyrics that were provided in the programme.
The night finished, in a traditional style for a Last Night, with Rule Britannia featuring soloist Penelope Mills. There was much fanfare, flag waving and streamers…
A glorious two hour plus concert. All three performances were sold out. Book in early for next year!
For more about the wonderful WSO visit- http://www.willoughby.nsw.gov.au/Whats-On/Willoughby-Symphony/
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