4.5 stars
… a masterful and exuberant snapshot of the composer's oeuvre.
…The arrival of the concerto brought a sunburst of A-major beneficence. Neal Peres Da Costa played the fortepiano and the effect (from row G at least) was a sound somewhere between a piano and a harpsichord. I liked the moderate tempos throughout. The soloist brought out the sensibilities underlying the civilised urbane exterior… The finale radiated a dancing exuberance.
[…]
For someone from a generation brought up on the Mozart of Klemperer, Böhm and Beecham, modern performance practice, now virtually universal, initially presented challenges: the sleek, almost streamlined tempos and the emphasis on dynamic contrasts rather than regal splendour etc. However, this performance [of Mozart’s Jupiter Symphony] showcased visceral excitement – never at the expense of gravitas. From the peremptory opening chords and the gentle “reaction” till the last notes, this was a masterful rendition. What impressed me most was the inner detail, enhanced by the excellence of the acoustics in the City Recital Hall at Angel Place. In the slow movement, the mood was one of suave serenity and elegant sophistication, and the minuet (by this stage, minuets had virtually deserted the ballroom) is athletic rather than courtly. The finale is by universal consent, Mozart’s crowning symphonic glory. At a relatively and convincingly moderate tempo, the orchestra captured the dazzling contrapuntal swirl and the bubbling woodwind was a delight (is it invidious to single out the gorgeous flute?).
All told, a wonderful experience!”
Greg Keane, Limelight, 25 August 2022
Image: Robert Catto