Symphony Fantastic

The latest concert in Queensland Symphony Orchestra’s 2024 season was Symphony Fantastic, three French works that explore the themes of death in a macabre but entertaining evening of classical musical. Conductor Umberto Clerici was joined by Hungarian violinist Jozsef Lendvay. Credited as being one of the most brilliant violin soloists in the world, he joined the orchestra for the first of the three works.

This concert was unique as it incorporated a live actor, posing as each one of the composers. Robert Hofman introduced each work and gave an insight into the conductor’s motivations for writing the piece. It was an interesting and novel idea but at times may have taken away from the gravity and beauty of the concert itself.

The first work of the evening was ‘Danse Macabre’ composed by Camille Saint-Saens. Opening with twelve chimes from the harp to signify midnight, a violin solo summons the dead to rise. Xylophones connote the image of rattling bones while violins dance mischievously. Saint-Saens utilises the devil’s interval within this piece – the dissonance adding to the tension and unease. A mix of frivolity and foreboding comes to an end as an oboe signifies it is time for the dead to return to their graves.

Following this was Ravel’s ‘Tzigane’. Lendvay performed the opening violin solo with gusto and passion. The complex cadenzas leapt from his strings and filled the concert hall. The double stops were performed with ease and created a full and dynamic sound. This work by Ravel is translated to mean gypsy as at the orchestra enters, the audience hears playful strings repeating a familiar tune, that then spreads to the wind section. But the emphasis remains on the violin soloist and this piece was the perfect showcase of Lendvay’s talents.

After intermission, the orchestra was rearranged for Berlioz’s ‘Symphony Fantastique’ – a five-movement work exploring Berlioz’s own journey through love, infatuation and loss. Berlioz wrote notes to accompany each movement, to be read by the listeners. This is perhaps why Queensland Symphony Orchestra decided to incorporate a live actor and it was useful to have him read out Berlioz’s notes and set the scene for each movement.

The piece opens with a musical reflection of Berlioz’s unrequited love. Though the melodies are beautiful, they are also tense and the tempo changes from restrained to lively in a split second, echoing his emotional turmoil. The second movement is set at a ball and written as a waltz, connoting images of the pair sweeping across the dancefloor. Motifs from the first movement echo through this, reminding the audience of Berlioz’s raging crush on his love.

The third movement is set in a countryside. A light, lilting melody. Perhaps Berlioz is attempting to distract himself from his unrequited love. Shepherds call to each other across the fields but as the movement progresses, the response is no longer heard, leaving a lonely mournful call that is not answered. Threatening and thunderous timpani remind the audience that this emotional journey is not over.

The fourth movement is a dreamlike sequence where Berlioz dreams he has murdered his beloved and is sent to the gallows to be executed. The structured and militant music connotes images of Berlioz being marched to the gallows. The procession is ominous and interwoven with motifs from the earlier movements.

The final movement of this intense and extraordinary work takes a different turn. His beloved is now a witch, accompanied by all sorts of spectres at his own funeral. The music here is ominous. Bells toll in a dies irae, mixed with an electrifying dance with death. The beloved motif is now cold, distorted and scornful. The strings screech and the sound is, by Berlioz’s own account, grotesque. The strings section is explosive and the culmination of this work is stirring, intense and powerful.

Queensland Symphony Orchestra’s latest concert, Symphony Fantastic, was an exploration of death. Paired with a live actor, audiences were taken on a fantastic and sometimes horrible journey through three works that revolve around death. The curation of this concert was unique and very well done, as the three works complemented each other. Special guest Joszef Lendvay’s extraordinary violin skills added to the spectacle of the evening. A very intriguing, unique and fulfilling night at the orchestra.

Review by Yasmin Elahi