Overture to Zampa (Herold)
Sinfonia Concertante in E flat major KV 364 (Mozart)
Symphony No 2 in C minor Opus 17 (Tchaikovsky)
National Opera House
1993 was a seismic year for conductor Fergus Sheil: he was honing his craft with the annual Wexford Festival Opera, and Wexford Sinfonia held its first rehearsal.
The opera to which he was attached, Ferdinand Herold’s Zampa, left a lasting impression on the young conductor, so much so that he opened Sunday afternoon’s concert with its rousing overture.
1993, in retrospect, was a vintage year for artistic director Elaine Padmore and the Festival: she unearthed the Canadian conductor Yves Abel – who conductedZampa – and resuscitated a little known opera, but a gem, Cherevichki, by a composer who was also on Sunday’s programme, Tchaikovsky, directed by the soon to be great Francesa Zambello, at her fourth and last outing at Wexford.
Revisiting the overture again, you can see the attraction for Sheil: it is infectious, lively, spontaneous, which explains its almost universal popularity – it has been recycled incidentally often in animation, Banquet Bust, The Band Concert andTwo Gun Mickey – and is best described as happiness in eight minutes and 54 seconds, or there about. And because it opens at 90 mph, both orchestra and conductor are connected instantly, and the enthusiasm swiftly engages the audience, as the triumphal fanfare is addictive. Shame, however, about the rest of the opera.
The first time I saw violinist Ioana Pectu-Colan perform, outside of Ensemble Avalon, was with Philip Glass in Dundalk, and the last time was at Wexford Opera House, soloing in Glass’s Fifth Symphony, conducted by, who else, Fergus Sheil. She returned on Sunday for a musical mano e mano with Beth McNinch, in Sinfonia Concertante in E flat major KV 364, in which Mozart specified that the viola be tuned up a semi-tone and played in D major to counter balance the brilliance of the violin.
A most amiable joust, then. There are, as the programme noted, irrepressible high spirits, yet Wexford Sinfonia – no percussion – was sufficiently at one with Sheil’s sensitive guidance to embellish Mozart’s unstated poignancy, an enchanting palimpsest with the reversal of roles of the violin and the viola.
The composer intended that both instruments should soar, and Sunday’s concert was blessed by the performance of both Pectu-Colan and McNinch, the effortless virtuosity of whom was never in danger of being disassociated from the sensuous expressiveness of a large orchestra, from the opening tutti to the coda. In a word, magical, a performance framed by Sheil’s composure, which also attest to his warmth and breadth of vision.