Nicholas Collon and the Aurora Orchestra certainly know how to throw a party. With performances in Berlin, Munich and Rotterdam already under their belt, Sunday’s concert in Essen’s Philharmonie was quite unlike any other.
The programme
Ravel’s Bolero
From the out, the atmosphere was electric. And as percussionist Henry Baldwin waited just that moment longer for complete silence before releasing Ravel’s delicate snare drum riff, musicians appeared from every corner of the Philharmonie, both high and low for the unfolding of a totally immersive Bolero. Sultry saxes foreshadowed the entrance of the second snare drum, but percussionist Laura Bradshaw’s eyes never strayed from the master himself as trombone slides and bass drum might whipped up a storm. Fantastic concentration from all – including the audience! With the merest of hesitations, Collon cleverly redirected the rapturous applause aided by Baldwin’s woodblock, to segue seamlessly into John Adams’ addictive Short Ride in a Feast Machine where again, Aurora’s listening skills were at the fore.
© Viktor-Frankowski
Hayato Sumino plays Gershwin
Before we knew it, Peter Sparks’ delicious clarinet opening to Gershwin’s Rhapsody in Blue completely changed the mood. In response, pianist and internet sensation Hayato Sumino’s delicate and nimble reply evoked a lazy afternoon as he carefully articulates Gershwin’s delicious blues chords. Perhaps more power and definition would have lifted his performance, but as double bass slap pizzicatos, brass wah-wahs, triangle tings, and an orchestral kit drummer who could actually groove, this party was at full tilt. Aurora’s listening skills so good that Collon at times appeared happily redundant.
Sumino’s use of the melodica in his cadenza when joined by tenor sax and trombone, plus a brushed snare drum at the front of the stage, added a very intimate vibe. Improvisation worthy of London’s Ronnie Scott’s Jazz Club, full of cascading runs and jazzy groove, filled the auditorium. But as the glockenspiel ‘ding’ returned us to Gershwin’s original symphonic jazz, complete with an AMAZING whole orchestra portamento (slide), I was not the only left smiling.
Sumino concluded with the Intermezzo from Kapustin’s Eight Concert Etudes, channelling tricky Harry Connick Jnr-like stride bass. A most gracious young man.
Aurora Orchestra’s Rite of Spring
Returning to an empty stage after the interval, Aurora’s Stravinsky’s Rite of Spring – from memory – lived up to expectations. Having spent most of their rehearsal time working without music, their innate physicality hinted at the accompanying theatrics and visual effects which UK audiences had witnessed in the 2023 BBC Proms. Actively listening to each other at every twist and turn, their intoxicating intenseness was electrifying.
In contrast to Semyon Bychkov and the Czech Phil’s very colourful Rite which I had witnessed just days before in Amsterdam’s Concertgebouw, Collon focused on Stravinsky’s ritualistic pagan rhythms as he plunged the depths of darkness. Throbbing bass clarinets and violas gently guiding the reluctant maiden, stretching the very possibilities of time. Monumental tam-tam and searing brass created an immense wall of unrelenting cacophony before Wagner tubas and thudding bass drum whipped up unrelenting, hypnotic rhythms.
Collon’s ability to unleash a fury which just vanishes before your eyes, masked by his measured movements and borne from hours of detailed preparation in the rehearsal room, is quite unique. Likewise, their huge dynamic range and immaculate ensemble is simply an inspiration.
© Clare Varney
Dispersing themselves around the Philharmonie for two more Rite excerpts, unremitting precision remained. Even the rasping bass trombone, high in the balcony, was precisely in time.
Catch their Mahler 1 by heart at the BBC Proms on August 1st before returning on tour in Germany.
This concert was reviewed at Essen Philharmonie on Sunday 26th April, 2026
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