A sparkling start to 2024 – The Scottish Chamber Orchestra chase away any Hogmanay hangovers in this spirited and glorious concert.
Edinburgh on New Year’s Day can feel a subdued affair compared to the excesses of Hogmanay the night before, but if there were any sore heads in the audience, the cobwebs were swiftly blown away in the sheer vibrancy of this Scottish Chamber Orchestra concert.
The ethos of the Scottish Chamber Orchestra promotes transforming lives through the power of music, and as something for all to enjoy. The Viennese New Year Concert is a perfect example of this all embracing approach. Prior to the show, an email was sent out with helpful information about the venue, an article about how waltz conquered the world (a fabulous read) and a link to download a free digital programme. Thoughtfully written for experienced and newbie attendees alike, this provided an excellent guide to the concert.
The Usher Hall venue was the perfect choice, the rear of the stage lit in blues and purples, echoing the clear blue sky and crisp January air outside. Throughout the performance, the house lights were dimmed just enough to check programmes in pauses during the performance, and the orchestra well lit throughout.
Our conductor, Jiři Rožeň, led the first half of the programme with Dvořák’s Prague Waltzes, and a gorgeously harmonious performance from the orchestra. The perfect scene setter, starting with washes of strings, before the woodwind and brass sections joined in. Throughout the concert, the orchestra moved as one beautifully balanced and highly accomplished partnership.
Moving on apace, Voices Of Spring (J Strauss II) was the stand-out performance from the first half, with the first of four appearances from soprano Jennifer France. Shimmering in voice (and gorgeous dress), her crystal clear voice shone, perfectly accompanied by the music. A beautiful call and response between her voice and the flute of André Cebrián towards the conclusion was a particular delight.
The remainder of the first half zipped along in similar style. Following a short interval to catch our breaths as much as the orchestra, we set off in bombastic style in the second half, with a swaggering rendition of Suppé’s Overture, Light Cavalry. The fanfare from the brass section was a fantastic start to this half, which was slightly darker in tone compared to the more effervescent lightness of the first half.
It was clearly evident that considerable thought had been given to the programming to ensure the stylings of different composers were given their due respect, whilst remaining complementary to the music before and after. The four numbers with Jennifer France were beautifully measured, to allow her voice to complement the orchestra, and vice versa, without fear of cancelling each other out.
The finale was, of course, The Blue Danube (aka the one you know from watching on the TV every New Year’s Day). Rožeň very sweetly conducted the audience in the obligatory “clapping along” section, encouraging and controlling us with enthusiastic gestures and for the most part, we even stayed in time. The orchestra let loose a collection of party poppers towards the conclusion, as we were wished a Happy New Year, a lovely touch appreciated by the audience, and reflected in the level of applause as we reached the end of the performance.
Leaving the venue, I had a brief chat with one of the charity collectors for Alzheimer Scotland, the charity partner of the concert. “Did you enjoy it? It was beautiful, wasn’t it?” they asked. It certainly was, and the perfect way to start the new year.
REVIEWER: Claire McArthur