Metropolitan Festival Orchestra: The Majestic Piano

THE MAJESTIC PIANO

METROPOLITAN FESTIVAL ORCHESTRA

SOTA CONCERT HALL

1st JUNE 2013

An edited version of this review was published in The Straits Times on 3rd June 2013 under the title "Making a Grand Entrance"

While Singaporeans continue to grouse about population density, it seems that there is always space for another orchestra. Just weeks after the inauguration of the Young Musicians’ Foundation Orchestra, we witness the birth of the Metropolitan Festival Orchestra. With lofty ambitions of being an independent professional orchestra, and a band of Who’s who of the local music circle, expectations were high in their debut performance led by music director Chan Tze Law.

It would be an impossible task to imagine a more impressionable introduction to a new orchestra, given their authoritative entrance to Schubert’s Overture to Rosamunde which opened the concert. The delectable solos shared by oboist Tay Kai Tze and flautist Cheryl Lim was full of Schubertian lyrical charm and punctuated by an imposing brass section which were impeccable in intonation. Some heavy-handed playing resulted in the allegro vivace sounding rather frenetic with rhythmic execution teetering on the edge of over-zealousness, although the delicate runs of the violins were always conveyed with glittering precision.

Japanese pianist Miyuki Washimiya is no stranger to Singapore concert goers, having appeared in several recitals presented by the Kris Foundation. Her account of Grieg’s ever-popular Piano Concerto in A minor was one that eschewed virtuosity and instead placed emphasis on the work’s dynamic nationalism and rousing melodies. This was a pianist who seemed incapable of producing an unpleasant tone, and it was to this effect that the warm serenity of the second theme triumphed over the turbulent opening octaves and arpeggios.

Maestro Chan’s keen sense of pulse saw some perfectly placed moments of lingering and accentuation, which was no more evident than in the sublime opening of the second movement. Riding on the heightened state of romanticism, Washimiya weaved sentimentality unabashedly, always sensitive to the lush harmonies offered by the ensemble. Despite a rather restrained tempo in the tempestuous third movement, both orchestra and soloist dished out playing full of gumption in the rousing finale.

Beethoven’s Piano Concerto No. 5 in E-flat major, despite being composed at the height of the composer’s struggle with deafness, was the most extroverted of his concerti output. The idea of heroism and extravagance was well embedded in the orchestra’s sound, and the epic orchestral chords welcomed an energetic cadenza from Washimiya. Although a generous dose of rubato was applied, it only served to enhance the lavishness of the work. Once again, the slow movement saw some of the most delectable music making as the performers embraced the intense emotion on offer with the pristine woodwind interlude adding a shimmering light. It was in the Rondo movement that the work took flight for the final time, with pianist indulging in the more solemn moments while orchestra delighted in the joyous outbursts.

After being showered with several well-deserved curtain calls, Washimiya obliged with an encore of Schubert’s Moments Musicaux No. 3, a quaint miniature dance which sent the audience home with a skip in their steps.

#metropolitanfestivalorchestra #miyukiwashimiya