Aurora Orchestra/Collon/Power Review – Italian Immersion with Introspective Berlioz and Extrovert Mendelssohn

The world of classical music often offers a unique juxtaposition of seemingly disparate ideas, and the recent concert by the Aurora Orchestra, led by conductor Nicholas Collon, exemplified this phenomenon beautifully. Their presentation showcased two monumental works inspired by the allure of Italy: Felix Mendelssohn’s Italian Symphony and Hector Berlioz’s Harold en Italie. Though both pieces were born from shared experiences in Italy, they diverge sharply in style, mood, and expression.

A Journey through Time and Sound

Mendelssohn composed his Italian Symphony in 1833, revising it in the following year, while Berlioz drew inspiration for Harold en Italie during his own visit to the Italian peninsula in 1834, coinciding with a time when both composers enjoyed each other’s company. While the Aurora Orchestra’s programming choice to pair these two compositions may seem understandable at first glance due to their shared geographical inspiration, a deeper analysis reveals that they inhabit vastly different musical worlds.

Mendelssohn’s work stands out as a pinnacle of symphonic writing. It is characterized by its bright, lively orchestration and a technical polish that reflects the joy of his travels. The Italian Symphony brims with energy and exuberance, showcasing Mendelssohn’s mastery in creating memorable melodies that resonate with vitality. In stark contrast, Berlioz’s Harold en Italie is a deeply introspective and imaginative piece that tells its story through the lens of a lonely traveler modeled after Lord Byron’s Childe Harold. This work captivates through its unconventional structure and profound emotional depth, featuring the haunting solo viola that embodies the reflective and melancholic spirit of its protagonist.

Breaking from Tradition

What sets the Aurora Orchestra apart from many other ensembles is their commitment to live performance as an immersive experience. Alongside Collon, they eschewed tradition in favor of innovative presentation techniques, making the concert an engaging adventure for both the performers and the audience. The decision to perform Mendelssohn’s Italian Symphony from memory in the second half of the concert epitomizes their unique approach. The musicians performed standing up, encouraging interaction and spontaneity, which breathed new life into the beloved work.

As the audience watched the musicians engage with each other and the space around them, it was irresistible to join in the experience. The performance culminated in an encore where the orchestra executed the symphony’s exhilarating final movement, the Saltarello, by dispersing into the hall, transforming the entire venue into a stage. This theatrically adventurous approach is slated for replication during their forthcoming performance of Shostakovich’s Fifth Symphony at the Proms, further solidifying their reputation as pioneers of concert performance.

The Dramatic Exploration of Harold

The presentation of Berlioz’s Harold en Italie took on a more theatrical form, described as a “dramatic exploration.” Here, the incorporation of text read by actor Charlotte Ritchie added layers of meaning, bridging the movements of the symphony. This commitment to a narrative experience brought a fresh perspective to the work, creating a rich tapestry of sound and storytelling. Ritchie’s voice punctuated the orchestral fabric, bringing to life Berlioz’s thoughts and feelings surrounding his creation.

However, while the innovation of this theatrical style was commendable, it occasionally led to moments where the orchestral balance faltered. Lawrence Power, the viola soloist, showcased his incredible skill by not only performing but also adding vocalizations of the idée fixe amidst the performance. His ability to evoke the essence of Harold, coupled with his expressive playing, demonstrated the duality of the character—both the romantic wanderer and the introspective soul.

Yet, in the midst of so much activity—textual interludes, stage movement, and varying dynamics—the sonorous balance between Power’s viola and the orchestra didn’t always achieve the clarity it deserved. At moments when he stood still to execute Harold’s delicate arpeggios in the second movement, one could feel the music’s inherent drama striving to shine through despite the distractions.

Reflecting on Ambition and Innovation

The Aurora Orchestra’s concert not only showcased incredible musical talent but also highlighted the ambition to forge new avenues in classical performance. By taking risks, the ensemble transformed concert-going into a multifaceted experience where music, narrative, and theater coalesce. This artistic choice is significant in today’s musical landscape, as it invites audiences to engage with classical music beyond mere auditory appreciation.

Whether aficionados of Mendelssohn’s charm or Berlioz’s depth, listeners were undoubtedly treated to an intense exploration of emotional landscapes tied together through the thread of the Italian experience. Both composers provided vivid imagery through their compositions—the spirited vitality of Mendelssohn’s themes and the introspective journey presented by Berlioz—allowing the audience to traverse through contrasting yet complementing realms of musical expression.

The Essence of Live Performance

In conclusion, the Aurora Orchestra’s concert was a testament to the transformative power of live music. By juxtaposing Mendelssohn’s extroverted Italian Symphony with Berlioz’s haunted Harold en Italie, the ensemble not only revealed the distinct qualities of each piece but also created an exhilarating, immersive experience that resonated long after the final note. In a world increasingly dominated by predictable formats, the Aurora’s daring innovations remind us of the vital joy and thrill that live performance can evoke, instilling a renewed appreciation for the timeless beauty of classical music.