Latin Romance: Orchestra London's Masterworks Series, February 2011
Sunday February 19, 2011

by Brian Hay

The first piece played was the 'Ocho Por Radio' by Silvestre Revueltas'. The name of the work or the composer wasn't familiar but the melody that opened the piece was. The Hollywood music machine has been quoting it regularly whenever they needed mood music for a Mexican or Latin setting since musical scores became a part of films. Under Conductor James Sommerville the eight musicians who played it, violinists Joe Lanza and Sigmar Martin, Clarinettist Graham Lord, Bassoonist Spencer Phillips, Trumpeter Shawn Spicer, Percussionist D'Arcy Gray, Bassist Joseph Phillips and Cellist Christine Newland, delivered a reading that was impassioned and taught. It set the stage for things to come.

Mireille Asselin's performances of Joseph Canteloube's 'Songs of the Auvergne' were lovely. And she's a character herself. Her playful side was on the surface for 'Lo Fiolarie', 'Te, l'co, te' and 'Lou Coucut'. She followed a superbly restrained performance of 'Brezirola' with a hilariously coquettish rendition of 'Oï ayaï'. Her rendition of 'Bailero' was nothing short of sublime, just sheer beauty set music. Before the performance Conductor Jimmy Sommerville said that, with 'Bailero', we might all find ourselves listening to the most beautiful song we'd ever heard. This reading of the song, from orchestra and singer alike did a lot to substantiate his statement.

The first half closed with an inspired performance of the First Suite from 'The Three Cornered Hat' by Manuel de Falla. Mireille did an unannounced reading of it's introduction. She made it clear there were fireworks to come. The orchestra captured the lazy breezy feel of the heat 'Afternoon' depicts perfectly. The eroticism of the 'Dance of the Miller's Wife' was suppressed but never far from the surface. Bassoonist Spencer (Fred) Phillips captured the isolated nature of the (thoroughly dislikable) 'Corregidor' neatly. The orchestra's portrayal of the softer aspects of the wife was stellar. The dancelike themes from 'The Grapes' brought the half to a rousing finish.

The second half opened with a premiere of a work previously written but newly revised by composer Omar Daniel. The new versions of the 'Neruda Canciones' (Neruda Songs) were fiery, richly textured and varied in character. The first, 'La Bandala' ('The Flag'), was performed by Asselin with a tambourine and no accompaniment from the orchestra. She was like one raging with the fires of an inferno inside her. The final of the work, 'El Tigre' ('The Tiger') was superb. Her performances of 'El Desvio' ('The Slip') and 'El Condor' were thrilling. Daniel's orchestration of these pieces and Asselin's singing coloured each other perfectly. The piece ended to a standing ovation shared by the orchestra and the composer that was richly deserved.

The show closed with a performance of Alberto Ginastera's 'Variaciones Concertantes' (Concerted Variations). The performance of the opening passage was fabulous. Christine Newland followed it with some beautiful playing on her cello. The passages for solo flute (played either by Annelie Metrakos, Margaret Voorhaar or done in tandem) were exquisite. The Clarinet passages played by Graham Lord were delicious. Violist Kelvin Enns showed a facet of his instrument that isn't heard often. Bassoonist Spencer Phillips and Oboe player Ian Franklin put together a beautiful dialogue between their instruments. David Pell and Jennifer Short delivered a tasteful solo passages on the Trombone and English Horn. Joseph Phillips made his bass sing. The orchestra as a whole delivered Ginastera's richly layered music with a flourish. Incidentally, if Ginastera's name sounds familiar to Pop fans it's because Emerson, Lake and Palmer arranged the Fourth Movement of his First Piano Concerto to create the piece they called 'Toccata' (which Ginastera himself loved). Some of the music from the 'Variations' may have found its way to ELP's 'Toccata' (or to Emerson's Piano Concerto from the 'Works' LP) because the fanfare near the beginning and other portions were instantly recognizable from the pieces that ELP created.

This night belonged to everyone. The orchestra shone both as soloists and ensemble players. Mireille Asselin showed why her star's burning so brightly and why it will continue to do so. She has a voice that's beautifully light but deceptively powerful. Her control is superb and she's fun to watch. She has a playful and mischievous nature that' s never far from the surface and delights in sharing it with the audience. James Sommerville's approach to conducting seems very relaxed. He lets the music flow and only appears to wind things up or pull them back when absolutely necessary. It's the art of leading without appearing to lead which is an art in itself.

It worked beautifully because it was a great show.

This show took place in Centennial Hall in London Ontario on Saturday February 19, 2011. This article was written to convey what it was like to be there.

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