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Acoustic Woes Plague UK Premiere of Grammy-Winning Cello Concerto
12 Mar
Summary
- Canterbury's Marlowe Theatre acoustic hindered performances, described as desiccated.
- The UK premiere of Gabriela Ortiz's Grammy-winning Cello Concerto was performed.
- Alisa Weilerstein's virtuosity was evident despite acoustic challenges.
Performances at Canterbury's Marlowe Theatre were reportedly hindered by the venue's desiccated acoustic. This dry sound quality exposed flaws and diminished the atmosphere, creating challenges for the Philharmonia orchestra and its conductor, Marin Alsop.
The concert opened with a performance of Arturo Márquez's Danzón No 2, noted for its loose-limbed and precise execution. This was followed by the UK premiere of Gabriela Ortiz's Grammy-winning Cello Concerto, "Dzonot" ("Abyss").
Alisa Weilerstein, the cellist for whom the concerto was written, showcased her virtuosity. However, the challenging acoustics of the Marlowe Theatre kept the score's potential magic earthbound. The performance also experienced minor technical difficulties with Weilerstein's chair and a slightly awkward moment during the composer's ovation.
The problematic acoustics continued to affect the orchestra during Rimsky-Korsakov's Scheherazade, where sonic drama is crucial. While intimate chamber music moments were effective, louder passages and string sections struggled to achieve clarity and cohesion due to the inability to hear each other.
An encore of Anna Clyne's "Restless Oceans" further highlighted the performative frustrations possibly exacerbated by the venue's acoustic limitations. The orchestra concluded its performance under challenging sonic conditions.
