Playing to an excited and packed house, the final concert of the 13th Scotiabank Northern Lights Music Festival provided a fitting end to two weeks of exceptional music. A resounding success, the event was also tinged with a little sadness as it marked the close of this year’s marvelous and diverse program.
International flute soloist Susan Hoeppner opened the evening with Antonio Vivaldi’s Concerto No. 1 in F Major for Flute, Strings and Basso continuo, Op. 10 (RV 433) “La Tempesta di Mare” – “the Storm at Sea.”
Published circa. 1728-30, it is the first of a group of six flute concertos. Here, Allegro represents the gathering storm, followed by Largo, where a temporary calm prevails, before Presto, the main storm breaks.
Hoeppner played superbly and her exquisite performance was beautifully accompanied by four violins, a viola and a cello, from the Festival Orchestra.
Angela Park, one of Canada’s most sought-after pianists, then played Frédéric Chopin’s 1830, Piano Concerto No. 1 in E minor, Op. 11. Accompanied by two violins, a viola, cello and bass, her interpretation with its intricate and powerful fingering, was unforgettable.
It opens with the very fast Allegro Maestoso. The second movement, Romanse – Larghetto, which is known for its lyrical middle, also includes some wonderfully magical moments where the piano melody is accompanied by incredibly rich dark strings, and Park and the string players ensured the audience experienced the full impact. It was breathtaking, ending with the Rondo – Vivace where the lively Polish dance influences bring the piece to a triumphant close.
After intermission, flautist Susan Hoeppner and the string sextet played another of Vivaldi’s six Op. 10 concertos: No. 3 in D Major for flute, strings and basso continuo, (RV 428). “Il Gardellino” – “the Goldfinch” – an adaptation of his Concerto in D Major for violin or flute and violin, RV 90 of the same name.
The flute cleverly imitates what avid birdwatchers often describe as the “silvery twittering” of the European Goldfinch, many of whom were, and still are, kept captive for their much prized birdsong.
The three movements are charming. The light and fleeting Allegro leads into to the warm and enticing Cantabile, which includes the flute’s lovely long duet with the cello, then closes with the fast and very melodious Allegro.
Festival founder, Artistic Director and Concertmaster Chris Wilshere then came forward to thank everyone involved in running, planning and implementing the event. Among others he mentioned his personal assistant Ricardo Perez, the festival’s website builder Bob Howe, ticket-seller Maureen Welch, the organizing group, billeting hosts, and the friendly and consistently helpful volunteers.
To resounding, concurring applause from the audience he thanked Scotiabank for its generous support, Geo. Heinl & Co of Toronto for sending luthier Leyland Hiphner, and his parents Anthony and Roseann Wilshere for all their encouragement, despite the disruptive invasion of their home.
Closing the festival was Wolfgang Amadeus Mozart’s three-movement motet for soprano and orchestra “Exsultate Jubilate” – “Rejoice, Be Glad,” KV 165, written when he was 16.
It was performed by the gifted Canadian-American soprano Erin Cooper Gay, accompanied by the multi-talented Festival Orchestra comprising six violins, three violas, two cellos and a bass.
Her unique tone, musicality and interpretation, ensured an exquisitely unforgettable experience and brought the evening’s short program and the festival to a close, on a triumphant, if slightly bittersweet note.