Holst's 'Planets' with Vladimir Ashkenazy and The Sydney Symphony Orchestra

So here we are again.

Second night at the Opera House but for something completely different.

Legendary Vladamir Ashkenazy,  who is the Sydney Symphony Orchestra’s Conductor Laureate, conducting Gustav Holst's 'Planets' Suite.

Sorry, no scanner! On the road..

 It was wonderful... Always 10 times better hearing music live.

This is a very famous bit of music, Dear Readers, trust me, you'll know it! 

Here's Jupiter.

https://www.youtube.com/watch?v=Nz0b4STz1lo

 ABC classic FM is recording Saturdays performance 

I will include the link to the SSO version 

when it gets online.

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But first a bit of deja vu. Dinner at the Opera Bar.

Graham is determined to master this ordering online app thingy.

No photos during the performance, but that doesn't mean you can't take pics before!

 

And, here's an extract from the the 'Limelight' review from the performance we saw..

Holst’s Planets (Sydney Symphony Orchestra)

Vladimir Ashkenazy with Holst’s glittering ode to the heavens.

Concert Hall, Sydney Opera House

Reviewed on September 25, 2019

by Angus McPherson on September 26, 2019 

 There was, of course, drama aplenty in Mars, the Bringer of War, the terrifying opening movement of Holst’s The Planets, written against the backdrop of the First World War, before going on to inspire composers like John Williams, in his iconic music for Star Wars. Marshalling huge forces, including the Concert Hall’s organ, Ashkenazy brought a taut, fierce energy to the rhythmic opening before unleashing the full power of the orchestra, delivering a rich wave of sound. Such power somewhat eclipsed the planets that followed, but the overwhelming final notes meant the smooth solo by Guest Principal horn Samuel Jacobs in the opening of Venus, the Bringer of Peace was particularly balm-like before Ashkenazy gave us a lithe, restless Mercury. The expansive central movement Jupiter opened with sparkling fanfare, with the strings shaping the hymn melody – almost as iconic as that of Elgar’s Pomp and Circumstance March No 1 – in long-breathed phrases. The uneasily swaying winds and tenebrous lower strings conjured in Saturn a suitably otherworldly quality while Uranus, the Magician, with its apparent tip of the hat to Dukas’ The Sorcerer’s Apprentice, was colourful and boisterous. The glistening winds, harp and celesta of Neptune, the Mystic brought the evening to a close, the orchestra haloed by singers from Sydney Philharmonia Choirs, whose wordless song filtered into the Concert Hall from offstage before fading once more into silence.