Mozart and Britten with Thomas Zehetmair and the Royal Northern Sinfonia
Royal Northern Sinfonia live from The Sage, Gateshead presented by Adam Tomlinson at 7.30pm Friday 25th October, 2013
Werner Güra (tenor) Peter Francomb (horn) Thomas Zehetmair (conductor)
Mozart: Divertimento in B flat 'Salzburg Symphony No. 2', K137
Britten: Serenade for Tenor, Horn and Strings
Mozart: Symphony No 40 in G minor, K550
I’ve been catching up with this Concert little by little on iPlayer and have found a great deal to admire and am disappointed that no other For3 boarders seem to have bothered with it. It’s time, perhaps, to salute the great work done by Thomas Zehetmair over the last decade or more with “his” orchestra, especially as he intends to move in 2014 when he’ll assume the role of “conductor laureate” of this royal band.
Why do I admire his work so? I think it’s because of the complete absence of dull routine. Every phrase and each blend of instrumental tone emerges fresh and brightly polished. Thomas is, of course, a great violinist and the orchestra has a winning string body that shows an ability to be light, marvellously unanimous but can burgeon into a rich refulgence when context so demands. This concert started with Mozart’s delightful Divertimento in Bb that was played beautifully with sprung rhythms to the fore together with a relaxed manner – players knew their parts well and communicated a sense that “we’re having fun”.
It was good to hear Britten’s masterly Serenade sung in pretty idiomatic English by the young German tenor, Walter Gura. He exhibited a range of vocal timbres to suit the great variety of poetry in the seven songs. The excellent horn soloist was Peter Francomb, who is a member of the orchestra.
Mozart’s 40th Symphony is very familiar but it came over newly imagined by Thomas Zahetmair. The first movement was quick, light and pointed. That might not please all listeners but the manner in which its style was unified from the smallest accompanying figure to full-blown climaxes was admirable. Zehetmair chose Mozart’s revised version with added clarinets.
I’d characterise his whole approach as nearer to Robert Schumann’s concept that this G minor symphony is full of “Grecian lightness and grace", or Tovey’s idea that it's “opera buffa” than 20th century critics who huddle around Charles Rosen as he declares it “a work of passion, violence and grief”.
Few days left on the iPlayer’s clock. I do commend these sparkling performances to you.
Werner Güra (tenor) Peter Francomb (horn) Thomas Zehetmair (conductor)
Mozart: Divertimento in B flat 'Salzburg Symphony No. 2', K137
Britten: Serenade for Tenor, Horn and Strings
Mozart: Symphony No 40 in G minor, K550
I’ve been catching up with this Concert little by little on iPlayer and have found a great deal to admire and am disappointed that no other For3 boarders seem to have bothered with it. It’s time, perhaps, to salute the great work done by Thomas Zehetmair over the last decade or more with “his” orchestra, especially as he intends to move in 2014 when he’ll assume the role of “conductor laureate” of this royal band.
Why do I admire his work so? I think it’s because of the complete absence of dull routine. Every phrase and each blend of instrumental tone emerges fresh and brightly polished. Thomas is, of course, a great violinist and the orchestra has a winning string body that shows an ability to be light, marvellously unanimous but can burgeon into a rich refulgence when context so demands. This concert started with Mozart’s delightful Divertimento in Bb that was played beautifully with sprung rhythms to the fore together with a relaxed manner – players knew their parts well and communicated a sense that “we’re having fun”.
It was good to hear Britten’s masterly Serenade sung in pretty idiomatic English by the young German tenor, Walter Gura. He exhibited a range of vocal timbres to suit the great variety of poetry in the seven songs. The excellent horn soloist was Peter Francomb, who is a member of the orchestra.
Mozart’s 40th Symphony is very familiar but it came over newly imagined by Thomas Zahetmair. The first movement was quick, light and pointed. That might not please all listeners but the manner in which its style was unified from the smallest accompanying figure to full-blown climaxes was admirable. Zehetmair chose Mozart’s revised version with added clarinets.
I’d characterise his whole approach as nearer to Robert Schumann’s concept that this G minor symphony is full of “Grecian lightness and grace", or Tovey’s idea that it's “opera buffa” than 20th century critics who huddle around Charles Rosen as he declares it “a work of passion, violence and grief”.
Few days left on the iPlayer’s clock. I do commend these sparkling performances to you.
The singer was competent, but not transcendent. I wasn't moved the way Anthony Rolfe Johnson can move me in this work. All of it was easy enough o'the ear - apart from occasional lapses in the horn, and I bet it's a real git to play. 
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