Basically Baroque
Soloist – Robert Orr
Saturday 29 April, 5.00 pm; and Sunday 30 April 3.00 pm 
King’s and Queen’s Performing Arts Centre

Daniel Kossov: Conductor
Robert Orr: Oboe

JS Bach: Concerto for Violin and Oboe
Respighi: The Birds
JS Bach: Concerto for Oboe D’Amore
Mozart: Symphony No. 41, Jupiter


A packed house at the matinee performance at the King’s and Queen’s Performing arts Centre on Saturday gave rousing applause for some popular baroque works from the Dunedin Symphony Orchestra under the baton of Daniel Kossov.

All the works were well known to the audience with the exception perhaps of Respighi’s Gli Uccelli – The Birds performed by the full orchestra.

Full emphasis was given to creating a comic cacophony from the sounds of the many fowl in La Galina. L’Usignuolo (the nightingale) is languid.

Deserved accolades were given to the Dunedin Symphony Orchestra wind and brass sections. It is a delightful engaging work and the orchestra excelled itself in its first performance of this work with finely wrought sensitivity.

Guest Robert Orr, known primarily as assistant principal oboe with the NZSO, performed two works by J.S. Bach.

In Concerto in D minor for oboe and violin he was joined by Kossov on violin and David Burchell on harpsichord, and a reduced chamber-sized orchestra.

They created a sweetly chatty work with very good ensemble communication.

Orr played the oboe d’amore for Bach’s elegantly shaped Concerto in A major. Its deeper resonance is quite beautiful.

The orchestra achieved the challenging pianissimo passages with remarkable cohesion. Their performance kept Bach’s dense writing delightfully engaging.

Kossov conducted Mozart’s Jupiter Symphony, which concluded the performance, without opening the score, which nevertheless rested reassuringly on the conductor’s podium.

This is a remarkable feat. Kossov’s style emphasised the elegant sweeping lines particularly well in the andante cantabile movement. His delight in this work was evident.

However, while it remains one of Mozart’s most often performed works, the last movement, molto allegro, of repeated episodes of masculine and feminine interchanges makes the whole work excessively long.

-Reviewed by Marian Poole for the Otago Daily Times, Monday, 1 May 2017

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