Wong, Stotijn and Phion create a most memorable performance

One of the many wonders of living in this part of the east Netherlands is the opportunity to hear so many talented yong musicians and watch them at work. This concert given by the Phion Orchestra with Kahchun Wong, the young conductor from Singapore, was no exception as displayed in a series of concerts featuring the Dutch mezzo-soprano, Christianne Stotijn.

What a pleasure it was to listen to an orchestra and conductor who both so obviously delight in playing Mozart, with all its required attention to phrasing, articulation, contrast of dynamics and texture. This incidental music, written to accompany the play Thamos, King of Egypt by Tobias Philipp completed in 1780, was new to me and I found the selection utterly delightful. Wonderfully tight ensemble playing from the strings was complemented by colourful wind and brass; the oboe’s sweet tone blended seamlessly, possessing an almost vocal quality. All on stage looked to be enjoying themselves. Initially, I did find some of Wong’s conducting gestures a little distracting, but his ability to draw the very best from this orchestra and produce music of the highest quality meant all was forgiven.

Christianne Stotijn entered the stage as we turned our attention to the songs of Richard Strauss and the audience at once warmed to her tender embrace. The achingly beautiful Morgen (Tomorrow) opened with a rich yet tender harp and violin duet. Stotijn held the audience in the palm of her hands such was the stillness in the auditorium; even the previously creaky podium was hushed. This was something very special and the audience struggled to hold back their approval. Wonderfully luscious harmony from sustained strings in Ruhe meine Seele (Rest my Soul) gradually helped build to the most operatic moment of the evening allowing Stotijn the opportunity to fully display her more dramatic side. Even when the proceedings were interrupted by some lengthy backstage radio contact, Stotijn was the consummate professional and remained unflinching.

The evening concluded with a confident and intelligent reading of Also sprach Zarathustra, a piece famed for the amazing brass and percussive opening and used by artists as diverse as Elvis Presley (for his entrance music on tour) and Nissan (for a recent advertising campaign), such is the breadth of appeal. In tonight’s performance, the brass did not disappoint, gradually building to a sumptuous climax, underpinned by the most earth-shattering double bass tremolo I have ever heard, before the beautiful calm of the solo strings melted into the emotional warmth of the whole string section. A slightly electronic sounding organ was a little disappointing and did jar with the rich romantic orchestral tapestry, but we were quickly distracted by the trumpet section cutting cleanly through the hall.

Cheeky clarinets and oboes added a playful note to what can be quite a serious work, and the addition of full brass all vying for supremacy, saw the work build to a tumultuous climax. Crystal clear fluttering flutes created a world of the Starship Odyssey before returning us to the safety of a rustic Viennese waltz. A wonderfully confident and joyful violin solo from Mathieu van Bellen, the orchestra’s leader, accompanied by a glockenspiel nearly tipped us into the world of Disney cartoons such was the playfulness of this interpretation.

Wong was very much in the driving seat, inspiring all with confidence and the audience felt very much at ease. This was an exciting, even thrilling reading and one which was unafraid to unleash the power of the brass and bells, much to the delight of all. The theatre in Zwolle was more than able to soak up all this deeply sonorous sound.

The final muted pianissimo top B from the 1^st trumpet was exquisite. We didn’t want the music to end but end it must; the cello and double bass pizzicato notes bid us farewell. Bravo!

Follow Clare Varney on Facebook or Instagram to read more about Music, Food and Culture