Having been to nearly every termly OUO concert over the last two years, I have become accustomed to the familiar voice of this ensemble. Regardless of fairly regular changes to the orchestra’s composition, they maintain a signature quality that seamlessly transfers from term to term, year to year. It was therefore to my surprise that I enjoyed a very different experience of OUO this term, defined by the baton of Remi Ballot.
It became clear from the opening of Schubert ‘Unfinished’ that Ballot had obtained the respect of this orchestra, which is no mean feat. Steady and precise, his direction was visibly acknowledged by all, most apparent in a totally transformed string section with phenomenal blend. Schubert ‘Unfinished’ is very familiar to me, as it is to many. I ignorantly came to expect what can be common to performances of canonical works: a fixed and unimaginative rendition. It became clear between deftly navigated climaxes that this performance was anything but. Well-rehearsed and directed with immaculate intent, this performance was characterised by its clarity of narrative. A particularly beautiful moment in amongst the tumult of the first movement was Oliver Rzycki’s flute solo, driving the exposition to its close. Each woodwind solo in turn deserves mention; they were all striking in their precision and direction, individual voice refined with care. As well as embracing the character of solo work, Erin Townsend and Myfanwy Meeran exhibited a keen sensitivity and intellect towards dialogue, too. It is worth noting the way in which the orchestra remained calm and composed throughout this piece in spite of unexpected disruption coming from outside the Sheldonian. It really is a tribute to their professional nature as an ensemble.
I was initially skeptical about the choice of programme; however, Ravel’s notoriously colourful soundscape worked as a welcome contrast to the dark textures of the Schubert. Viewed in abstract terms, it soon became clear that this programme was far from haphazard. It utilises the orchestration skills of three very contrasting composers to create a unique and refined soundscape from start to finish. One element of Ravel’s Mother Goose Suite that suited OUO is its exhibition of each element of the orchestra in turn; the quality and depth of sound across parts from movement to movement did not falter. Woodwind dialogue really started to develop during the first and second movement, a moment of particular note being the oboe and cor anglais duet between Daisy Middleton and Tom Kirby. The only aspect of this piece that was somewhat underwhelming was the coordination of the horn calls during the third movement. Given they announce pivotal change to a more insular, introspective character, I felt entries could have been more punctuated, confident and aligned. Adrien Carrère contrabassoon embodiment of ‘the beast’ was very enjoyable, colouring comedy with honed character.
Ella McLoughlin also handled the violin solo during the fifth movement with tender rubato, the bed of strings perfectly balanced beneath.
It was apparent from the opening of the Rimsky-Korsakov that OUO embraced the challenge of Scheherazade absolutely. The brass section created welcome contrast to the lighter textures of the Ravel and Schubert, their overwhelming power sustaining the long and convoluted tales of the Sultan. Ella McLoughlin handled the iconic Scheherazade theme well, providing varied facets to character as it unfolded across the movements. Indeed, all the principals were noticeably strong in this piece although Amy Fry’s distinctive, resonant tone was a highlight of the concert as a whole. Silence and space were beautifully dealt with. The audience was transfixed without murmur in each lull, following each swell of sound attentively. The interplay between the prince and princess in the third movement was particularly effective, a powerful dichotomy sustained throughout. I believe I was one of many who thought this particular OUO concert was singularly brilliant. The applause to finish was well deserved with many giving it a standing ovation across the three tiers of seating.
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