REVIEW: The Welsh Sinfonia Mozart Gala Concert 

Saturday 8^th October 2011, Dora Stoutzker Hall (RWCMD), 7.30pm 

Walking into the impressive new foyer of the Royal Welsh College of Music and Drama, I felt a little apprehensive about the concert that was about to take place. Not only was it happening in the Dora Stoutzker Hall – the UK’s first and only purpose built chamber recital hall – but The Welsh Sinfonia had the privilege of being the first professional chamber orchestra to perform there since its grand opening earlier this year. No pressure then.

But, like the hall itself, the orchestra (conducted by Mark Eager), looked immaculate as they walked on stage to perform their dark but beautiful programme of Mozart’s late works. As soon as the first chord was played it was clear that they would struggle to find any concert hall better suited to them than this.

Their rich string sound filled the space and in turn, the hall made the most of the stark dynamic contrasts in the Adagio and Fugue in C minor (K.546). Their level of musicianship was obvious as they responded quickly to Eager’s commands, and small discrepancies in high tuning were rectified immediately. The Fugue was exciting and well executed, with credit to Robin Stowell for leading the ensemble so clearly in what is a technically difficult work.

The highlight of the concert was the renowned period clarinettist Colin Lawson performing the Clarinet Concerto in A (K.622).  It was a rare treat to see this performed on its intended instrument – the basset clarinet – and Lawson’s mastery of it is undisputed. In the Adagio, I could not help but grin each time the seldom-heard low notes of this clarinet were played, and it was clear that many members of the audience were moved by this piece.

It was a nice touch that before performing the Symphony No. 40 in G minor (K. 550), Eager explained the significance of the work, giving it context. The symphony itself was excellent, and remained at a steady pace throughout. However, special acknowledgement must be given to the woodwind for their accomplished exposed sections in the Minuet and Trio.

As the work came to a close, it was clear that for the orchestra there was a deep sense of pride, as if a peak had been reached for The Welsh Sinfonia. For the audience, we had experienced a programme that was short and sweet, by an orchestra that is small but perfectly formed.