Summer Night in Wintertime

Mendelssohn - Overture, A Midsummer Night’s Dream
Berlioz - Les Nuits d’Eté
Ravel - Pavane pour une infante défunte
Saint-Saëns - Symphony in A major

In a continuation of the Mendelssohn 200 celebration, tonight’s concert puts Mendelssohn into context as a romantic; the mood is one of serenity coupled with drama. Under expressive conductor Olari Elts, a selection of primarily French music takes us on a journey through love, death and explorations of the classical form.

Mendelssohn’s overture to A Midsummer Night’s Dream portrays brilliantly many of the play's moods and characteristics. The many changes of humour are executed with great proficiency, and the dynamic contrasts in particular convey a real passion for the music. The ensemble creates an expressive sound, while the solo lines also intertwine well.

Berlioz’s Les Nuits d’Eté demonstrates a mix of rich harmonies and an increasingly dark mood throughout. Soprano Kate Royal engages the audience and maintains a welcome rapport throughout as she recounts the six movements, displaying a natural connection to the work. The dynamic of the ensemble complements the soprano lines, while various solo countermelodies achieve a subtle yet communicative dynamic, in particular those from the clarinet and first violin.

Ravel’s 'Pavane pour une Infante Défunte' creates a perfect opening to the second half of tonight’s programme, with its opening horn solo demonstrating many of the expressive qualities of the work. The bass line sings out a little more than usual perhaps, an aspect which gives the work a warm new dimension.

Saint-Saëns’ Symphony in A Major represents the composer’s answer to the traditional classical sonata form. The performance also demonstrates a perfect balance between sections, with melodies from the wind sitting perfectly on a wash of string colour before an ending which accents a beautifully dramatic close from the winds. This work joins the Berlioz in its journey through a variety of moods, as its peaceful opening subtly transcends into excitement. While the opening of the third movement lacks some conviction, this is later attained with an increase in dynamic, and is more than compensated for in the fourth movement. Once again, the SCO presents a thoroughly enjoyable exploration of Mendelssohn and his contemporaries.