West met East when WA Symphony Orchestra reconnected with principal conductor Asher Fisch for a Puccini-Tchaikovsky matinee at Heath Ledger Theatre on Thursday.
Fisch turned instantly to principal cello Rod McGrath for the sonorous solo opening to Puccini’s Manon Lescaut Intermezzo, its syrupy tones echoed by associate concertmaster Riley Skevington and principal viola Daniel Schmitt.
Deftly ushering in full ensemble, Fisch gently shaped rich rhapsodic phrases over bubbling harp (Marshall McGuire). Thundering timpani (Alex Timcke) answered the call as the orchestra rose to a climax and fell to serenity, ebbing and flowing towards a blissful cadence.
Fisch explained the pairing of Manon Lescaut with Tchaikovsky’s Fifth Symphony in terms of passion and despair; a courtesan condemned to exile in the Puccini, and Tchaikovsky’s self-imposed exile in fear of disgrace for his sexuality.
Clarinet (Som Howie) led in Tchaikovsky’s solemnly ominous main theme, shadowed with cat-like stealth by lower strings. Bassoons then flutes picked up the second strain, slowly goading woodwind and brass into declamatory chords, igniting full orchestral effects.
Lush respite followed, breaking to pizzicato over expansive horns as Fisch massaged the music to unleash brash fanfares in trumpets, then horns and woodwind.
Rhapsodic relief came in a reprise of the second strain, rolling through to more fanfares and a rapid-fire repeat of the melody, subsiding to bass at the close.
Dark echoes opened the Andante cantabile second movement, falling back for a limpid, languid horn (David Evans), echoed in clarinet and oboe (Liz Chee). Cellos surged with woodwind ornaments, building to mesmeric harmonies then lyrical reflection.
Fanfares returned in stentorian force, shocking the ensemble to sudden, severe silence; to be relieved by violins with the opening melody, spreading gloriously to all sections. Dramatic interventions by brass and percussion broke then resealed the charm as clarinet calmed to close.
Whimsical dance measures broached the Valse (Allegro moderato) third movement, a soothing breath of air. Skittish violins pressed the pace, their frenzied pattern a perfect prompt for oboe then clarinet to take the lead.
Bassoon (Jane Kircher-Lindner) bolstered the palette, stirring the full ensemble for a flourish to finish.
Broad bowing gave full play to the main theme in the Finale, with softly assertive brass modulating the tempo from Andante maestoso to Allegro vivace in a romp towards the exits.
Fisch juggled mystery in bass and celebration across the front of the stage as brass again leapt in to animate the scene, drawing strings in their wake with woodwind dancing attendance.
Featherlight bowing offset the drama as sections jostled towards the climax.
Fisch then called a pause before unleashing waves of exuberant expression, exhilarating at the close.
Finally, a timely encore of Freo, Way To Go brought the footy world into the theatre for a rousing sendoff.
WASO and Asher Fisch play Puccini and Tchaikovsky with Lachlan Skipworth’s Flute Concerto at Mandurah Performing Arts Centre on Friday, September 25, and Bunbury Regional Entertainment Centre on Sunday, September 27.
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