Asher Fisch forges an orchestral Ring in Perth

Spanning a little over 200 years, this concert from the West Australian Symphony Orchestra comprised three works from very disparate composers which yet displayed an underlying connection in contrasts, crescendi and exciting dramatic presentation. Conductor Asher Fisch is something of a legend for Australian Wagnerians, having presided over the second Adelaide Ring cycle in 2004 and its acclaimed recording. He is now the Principal Conductor of the WASO, and this concert including orchestral highlights from Wagner’s Der Ring des Nibelungen was something to look forward to, even sans singing. 

The evening kicked off with the overture to La gazza ladra (The Thieving Magpie), always fun, with a hefty version of the WASO on the stage. After the initial arresting snare drum rolls, we were in for a robust march. The Allegro section was characterised by fleet string playing before Rossini's crescendo built up into the più mosso for a rollicking finish.

A much smaller group took the stage for a brand new work by Lachlan Skipworth, a composer based in Perth but with a nationwide reputation. His Flute Concerto was composed for the esteemed WASO flautist Andrew Nicholson. Before its performance, we were treated to a Q&A between Fisch and Skipworth, from which perhaps the main takeaway, as with the composer's programme notes, was the emphasis on melody and rhythmic energy, and his background studying the shakuhachi in Japan.

The orchestra now was centred around a piano to “accentuate the very front of the beat”. Opening with Nicholson and two other flutes, the shakuhachi influence was evident, soon yielding to a more driving ensemble leading to a not quite Rossinian crescendo, reflected in the moment subtitles: misterioso – poco allegro – lento – agitato – poco allegro. While the notes speak of an avoidance of impressionism, a slow movement (Larghetto espressivo) starting with a flute unavoidably invoked Debussy with a dreamy effect, but with its own rhythmic momentum. The third movement, misterioso – tranquillo, built up quite an edifice of sound followed by the final molto allegro-presto subito, a veritable showcase for Nicholson’s virtuosity, flowing into a more standard concerto-like array of flute and strings leading to a rousing finale. The work was very warmly received. 

Wagner thundered in after the interval, with as large an orchestra as one is likely see here, totally filling the stage and highlighting the unlikelihood of ever seeing a fully staged Ring in Perth, unless there's some new operatic venue. The excerpts were taken in the order in which they appear in the cycle with a single exception. As with all the items on the programme, the performance was notable for its impeccably controlled dynamics, disciplined string playing and well modulated wind contributions. The Entry of the Gods into Valhalla from Das Rheingold, and anyone familiar with the work will have had no trouble visualising the culmination of Wotan’s plotting and planning in the crossing of the rainbow bridge. A nice contrast was provided by the Forest Murmurs from Siegfried with delicate strings and sensitive contribution from another WASO flautist, Mary-Anne Blades. This was logically succeeded by Siegfried’s Rhine Journey and Siegfried’s Funeral March from Götterdämmerung, the latter with its solemn drum introduction and ominous strings, culminating in ferocious blasts of brass concluded into a pin-drop silence. Finally, an out-of-sequence Ride of the Valkyries was played with great brio for a highly acclaimed conclusion.