Melody Eötvös will join five other composers whose works will be read and recorded by The Philadelphia Orchestra in September.
Four chords in the winds open the curtain on Felix Mendelssohn’s Overture to A Midsummer Night’s Dream, before a flurry of violins evoke an assembling swarm of sprites. Mendelssohn’s music captures the characters and preposterous action of Shakespeare’s comedy – not to mention its flamboyant spirit – from the mischievous fairies to the braying of the hapless Bottom-turned-Donkey. But for all its supernatural subject matter, a buzzing cello descent half way through the Overture has a more prosaic origin – the sound of a fly in the Mendelssohn family’s garden. Mendelssohn wrote his Opus 21 concert overture on Shakespeare’s play when he was just 17 years old, yet it – along with the incidental music he wrote for the play 17 years later – is some of his best-loved music. It is fitting then that the Tasmanian Symphony Orchestra will perform the incidental music, Overture and all, as part of its Shakespeare-themed 2018 season, which opened with Berlioz’s King Lear in March and will reach a climax in October with Romeo Retold – a stand-alone concert to commemorate the TSO’s 70th anniversary – and a concert performance of Gounod’s Roméo et Juliette in collaboration with Victorian Opera. Edwin Landseer’s Titania