17/05/2026
Copyright ©2026 Otago Daily Times, Page no. 3
THE packed Dunedin Town Hall was taken on an emotional roller-coaster ride by the combined forces of the New Zealand Symphony Orchestra, the Dunedin Symphony Orchestra and an enlarged City Choir Dunedin on Saturday night.
During the thunderous prolonged applause and standing ovation , I pondered that this must have been the most epic event, in the classical musical tradition, that the Town Hall had ever experienced.
This concert was nothing but extraordinary, and it was so apt that this was to celebrate the 60th anniversary of the Dunedin Symphony Orchestra, no doubt the jewel in Dunedin’s classical musical crown.
Thus it was felicitous that the concert opened with Fanfare ‘Kotahitanga’ by Dunedin’s own Anthony Ritchie. The combined brass sections welcomed all in a spirit of unity and togetherness.
Symphony No 2 ‘Resurrection’ by Mahler is a monumental masterpiece of orchestral architecture in five movements. At all times conductor James Judd was in complete control of the orchestra as they flawlessly managed rapid changes in orchestration, tempo and dynamics.
The symphony showcases Mahler’s skill in a number of areas — orchestration and use of orchestral colours, dramatic skills with sudden changes of tempo and dynamics, the ability to recreate stylistic nuances of music from his youth, the use of silence for dramatic effect, and his ability to compose a symphony free from perceived shackles of classical symphonic form.
The fourth movement is a song powerfully sung by mezzo-soprano , Deborah Humble. Her rich voice carried well over the orchestra; her German consonants were delicious.
The gigantic fifth movement combined all of Mahler’s forces, including an off-stage band. The psychology of expectation grew as the audience waited patiently for soprano Anna Leese and the large choir (director David Burchell) to sing. Leese, singing while sitting, gave an angelic heavenly aspect to her glorious sound that gradually arose from the hushed tones of the seated choir. All now standing, choral strength then erupted, backing Leese and Humble, and inescapably , with the addition of Burchell at the organ, the huge symphonic climax resonated in celebratory fashion.
