“Fantasia Orchestra’s residency closed on a high with bold programming and beautiful performances.”
The fourth and, unfortunately, final concert in Fantasia Orchestra’s residency at Smith Square Hall brought the series to a close in exactly the way it deserved: thoughtful, imaginative and completely true to the orchestra’s identity. Over the course of the residency, Tom Fetherstonhaugh has shown that he’s not interested in putting together predictable concert programmes. Instead, he builds musical journeys, finding connections between composers and styles that might not seem obvious on paper but make perfect sense when you hear them unfold.
That approach worked beautifully here. The evening moved naturally between Mahler, Strauss and Elgar before slipping into the worlds of Gershwin, Cole Porter and Stephen Sondheim. It never felt like a collection of unrelated pieces; instead, every work seemed to lead naturally into the next, creating an atmosphere rather than simply ticking through a programme.
Irish mezzo-soprano Niamh O’Sullivan was the perfect guest for such a concept. She moved effortlessly between opera, art song and musical theatre, bringing the same honesty and warmth to every piece. Rather than changing her style to suit each genre, she found the character in every song, making the whole programme feel remarkably unified. Her performance of Strauss’sMorgen was especially beautiful, with Samuel Staples’ elegant violin solo blending with her rich singing.
The orchestra itself continues to impress. Fantasia has developed a distinctive sound: warm, polished and remarkably flexible. Whether exploring the tenderness of Mahler’s Adagietto or the easy swing of Gershwin and Cole Porter, the players adapted effortlessly without ever losing their sense of refinement. Harry Baker’s arrangements deserve plenty of credit too, allowing the string orchestra to move comfortably between very different musical worlds.
One of the evening’s real highlights was Ellington’s Take the “A” Train. It injected a welcome spark into the programme, with the orchestra embracing its rhythmic swagger without ever losing its trademark elegance. The playing felt relaxed yet impeccably controlled, while delicate touches from the harp added colour and lightness, making it impossible not to be swept along by its infectious charm.
Perhaps what makes Fantasia stand out most is that these imaginative programmes never feel like clever ideas for their own sake. Everything is there to serve the music. You leave feeling you’ve discovered unexpected connections rather than listened to a themed playlist.
As the residency comes to an end, it’s hard not to hope this won’t be the last time Fantasia Orchestra calls Smith Square Hall home. If these four concerts have proved anything, it’s that classical programming can be adventurous, welcoming and completely unpretentious, all without compromising on musical quality.