Music / “Midsummer Dreams”, Australian Romantic and Classical Orchestra  At Albert Hall, August 1. Reviewed by DANTE COSTA.

THE Australian Romantic and Classical Orchestra treated the audience to a special program of Mendelssohn and Beethoven.

Opening with Mendelssohn’s “Overture to A Midsummer Night’s Dream, Op.61”, a shimmering array of chords were elegantly played by the woodwinds. They were then suddenly whisked away in the wind by the strings who entered with a gentle whisper, gradually intensifying into a wonderful, almost dance-like theme. The musical line was then developed throughout the orchestra and was concluded by the repetition of the crystal-clear intonation of the opening chords in the woodwinds.

Co-artistic director and principal clarinettist Nicole van Bruggen took to the microphone to introduce the rest of the program, noting that many of the orchestra’s members have returned from all over the globe to perform in this tour. The music was performed with such tender consideration to the proper practices of its time, displaying the significance of performing on period instruments and what they have to offer.

Beethoven’s “Symphony No.8 in F major, Op.93” is smaller in comparison to his other works, but what it lacks in quantity it certainly makes up in quality; and the Australian Romanic and Classical Orchestra sure know how to put on a real Beethoven symphony.

It opens with a boisterous allegro, which is followed by an equally vivacious allegretto, menuetto and vivace. The absence of a slower movement is made up with brief moments of reprieve. They were well received by the audience, which soaked up every moment of the resplendent music. Towards the end, the piece enters a section of delightful harmonic twists and turns.

Concluding with Mendelssohn’s “‘Scottish’ Symphony No.3 in A minor, Op.56” the orchestra put on a full display of its musicality.

They are like a magical, musical engine; made up of many individual parts but operating as one whole. The virtuosity of the entire orchestra was remarkable. The piece is made up of various folk-like themes that embody the Scottish musical aesthetic with lyrical and sometimes even quirky solos dotted throughout.

In a final flurry of resplendent sounds, the orchestra concluded with a humble coda, consisting of glorious tutti chords that blasted through to the back of the hall.