Classics close up
Last Friday evening Clive and I were at one of our favourite venues, Sydney Opera House. We had just bought tickets a week ago to see the Sydney Symphony play Tchaikovsky’s Piano Concerto No. 1, followed by Stravinsky’s The Firebird – 'ballet fantastic'. (Not my opinion – that’s what it’s called!)
We followed our usual routine – car to Cremorne Point to catch the ferry to Circular Quay, enjoying the city lights as we crossed the harbour. However, it was a chilly night, so we sat inside on the ferry and had to forgo sipping our pre-performance glass of bubbly on the outside balcony of the Opera House. Mad dogs and Englishmen might have put up with the cold biting wind, but we’re turning into wimpy Australians!
We'd gone for the cheap seats and decided to try a new position within the auditorium, which meant in the choir stalls behind the orchestra. We were right on the front row and consequently had a great view of the conductor and his interesting facial expressions, but musical purists probably wouldn't have enjoyed the best sound quality.
There was just a bar separating our seats from the percussion section so we could have banged the drums ourselves, but I don’t think our help would have been appreciated! It was fascinating to watch the performers from behind, like being a silent member of the orchestra (thank goodness!). We almost felt like standing up and bowing when they did!
There were three parts to the Tchaikovsky concerto. The grand piano was at the front of the stage and the pianist, Yefim Bronfman, played a magical performance - we’re always amazed how some musicians can play such complicated pieces without music. He even found the opportunity to tuck his hair behind his ear from time to time, but he probably started playing that piece at the age of four, mind you! Everything about him gave us the impression that he was in his late-50s or 60s, so it was a bit of a shock to discover in the programme that he was just one year older than me!
The Stravinsky piece called for a larger orchestra – more double bass players came on stage along with percussionists, brass players and three harps (surely one would be enough?). Live music forces you to listen to the various instruments far more than recorded music. Hearing the different sounds coming from various corners of the orchestra, and how they answer each other and complement each other is fantastic. Evert time we go to a classical concert, we vow to go more often. I wonder when the next one will be?
We followed our usual routine – car to Cremorne Point to catch the ferry to Circular Quay, enjoying the city lights as we crossed the harbour. However, it was a chilly night, so we sat inside on the ferry and had to forgo sipping our pre-performance glass of bubbly on the outside balcony of the Opera House. Mad dogs and Englishmen might have put up with the cold biting wind, but we’re turning into wimpy Australians!
We'd gone for the cheap seats and decided to try a new position within the auditorium, which meant in the choir stalls behind the orchestra. We were right on the front row and consequently had a great view of the conductor and his interesting facial expressions, but musical purists probably wouldn't have enjoyed the best sound quality.There was just a bar separating our seats from the percussion section so we could have banged the drums ourselves, but I don’t think our help would have been appreciated! It was fascinating to watch the performers from behind, like being a silent member of the orchestra (thank goodness!). We almost felt like standing up and bowing when they did!
There were three parts to the Tchaikovsky concerto. The grand piano was at the front of the stage and the pianist, Yefim Bronfman, played a magical performance - we’re always amazed how some musicians can play such complicated pieces without music. He even found the opportunity to tuck his hair behind his ear from time to time, but he probably started playing that piece at the age of four, mind you! Everything about him gave us the impression that he was in his late-50s or 60s, so it was a bit of a shock to discover in the programme that he was just one year older than me!
The Stravinsky piece called for a larger orchestra – more double bass players came on stage along with percussionists, brass players and three harps (surely one would be enough?). Live music forces you to listen to the various instruments far more than recorded music. Hearing the different sounds coming from various corners of the orchestra, and how they answer each other and complement each other is fantastic. Evert time we go to a classical concert, we vow to go more often. I wonder when the next one will be?
posted by Hawkins Family @ 7:16 pm
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