Solent Symphony Orchestra

Conductor - Steve Tanner                Leader - Kirstie Robertson

Reviews

The Solent Symphony Orchestra has been encouraged by many most complimentary reviews of our concerts in the media.

Here is a selection of excerpts

Deborah Gatie, Music in Portsmouth, March 2024

Solent Symphony Orchestra at Portsmouth Cathedral ‘Spring Classics’ concert, March 9th 2024

Previous winners of the SSO concerto award, offered annually by the Portsmouth Music Festival, have set the bar incredibly high, with outstanding performances recently from pianist Thomas Luke, and violinist Alexandra Peel. This year’s winner, 16 year old flautist Emme Hensel, from the New Forest, did not disappoint. From the assured opening statement of the Reinecke Flute Concerto in D Major, the audience knew they were in for a treat. Emme’s beautiful tone filled the cathedral and with an emotional intensity, giving full justice to the romantic ebb and flow of the first movement. Backed by a large Orchestra it is sometimes difficult to balance the sound, and there may have been moments when the orchestra overpowered the soloist, but these were few and far between as this flautist could more than hold her own. The second movement was a highlight for me. Emme’s expressive, lyrical phrasing created an intense, emotional performance displaying a real understanding of the composers intentions, not to mention extraordinary breath control.

The dazzling finale allowed the soloist to showcase her virtuosity with a fantastic display of technical skills to bring the concerto to a thrilling conclusion. This was a remarkable concerto debut from a 16 year old, performed from memory, with confidence, poise and a sense of real joy. Emme Hensel is a name to watch out for in the future.

The SSO was also on fine form, opening the concert with Holst’s  ‘A Somerset Rhapsody’. The transitions between the English folksongs were admirably handled with notable solos from the cor anglais in setting the opening mood, and the clarinet bringing the piece to a subtle close as the music faded into the distance.

However, the orchestra really came to life in the second half with Vaughan Williams ‘London Symphony’. Conductor Steve Tanner kept a tight grip on the tempos with some thrilling crescendos contrasting with the intense, pianissimo moments. There were many lovely solos, notably from the  cor anglais, horn, viola, violin and harp. The lower brass in particular, added real tension and excitement and the percussion section did extremely well to control the volume in the lively acoustics of the cathedral, yet keeping everything tight and crisp.

 This was impressive playing from all. A fellow audience member summed it up: “an epic performance..... epic soundscapes, an emotional rollercoaster, with every section of the orchestra at its best”. I would not disagree; this was a fine performance from the SSO.

Brian North, The News, October 2018

The violin concerto in D Major by Joannes Brahms. This work is technically formidable and a challenge for any soloist but violinist, Catherine Lawlor tackled the work seemingly with ease. Her performance was energetic and also superbly sensitive with the high notes singing beautifully around the building. The orchestra could so easily have dominated but again, Tanner's control allowed the soloist to shine and the audience certainly showed their appreciation for this young, superbly talented soloist.

Following the interval, the SSO was joined by the cathedral organ, expertly played by David Price, in Saint Saens Symphony No 3 – aptly named, the organ symphony. Many listeners would recognise the main theme as it was used extensively in the film Babe and its sequel. For many, this work was also a highlight of the evening. It is full of wonderful melodies, beautifully played by the strings and especially flute and oboe. The addition of the organ in the slow second section gave a wonderful depth to the sound which could be 'felt rather than heard'. Finally, the opening of the last section, the full organ plus the full orchestra sent shivers down the spine. Keeping the orchestra and organ together is no mean feat for the conductor but the evening was brought to a successful and exhilarating finish.

Brian North, The News, March 2019

The latest Solent Symphony Orchestra (SSO) concert at Portsmouth’s Anglican Cathedral certainly lifted one’s spirits. The concert, entitled, Sketches of Spain, was a delight to the ear and transported the audience to warmer climes. The programme titles, to most, appeared unfamiliar but as soon as they were played, instantly recognisable. The Spanish Overture by Glinka, highlighted the quality of the woodwind section, opening with a warm, resonant clarinet solo. The piece, full of light dance rhythms and constantly changing tempos were certainly a challenge for conductor Steve Tanner. The Danzon by Marquez, which followed, brought memories of the superb performance by the Simon Bolivar Orchestra at the BBC Proms a few years ago. Full of heady sounds, the music had a wonderful carnival flavour and the cathedral acoustic enabled the loud passages to be felt as well as heard. The highlight of the evening was the performance by Zoe Barnett of Rodrigo’s Fantasia para un Gentilhombre for guitar and orchestra. This piece, featured frequently on Classic FM, was familiar throughout. The orchestra, expertly controlled by Tanner, allowed the guitar to sing through and the final cadenza showed why Zoe was a worthy winner of the Portsmouth Music Festival Concerto Award.

The second half of the concert featured excerpts from the opera, Carmen by Bizet and de Falla’s Three Cornered Hat. All full of wonderful melodies with lots of opportunities for solo instruments to shine, especially flute and harp in the Bizet. Really tight playing from the orchestra of the various Spanish dance rhythms brought the concert to a joyous conclusion lifting the spirits of the whole audience.

Lara Jelliff, The News, June 2018

As a fitting farewell to the magnificence of the Royal Marines’ Museum, players from the well-respected Solent Symphony Orchestra performed a chamber concert featuring their own players as soloists. Commencing with the second Concerto Grosso Op. 3 by Handel, the orchestra could have been more rigorously directed at the opening to achieve a tighter ensemble, but there were some fine solo features; most notably the well- matched playing of the leader of the orchestra Kirstie Robertson and her counterpart Helen Purchase, leading the second violin section. A hitherto unrecognised gem in the classical repertoire, however, was to follow in Danzi’s Sinfonia Concertante Op. 41 for flute and clarinet. As a contemporary of Weber, enthusiasts will recognise this mutual influence in the instrumental writing which characteristically exploits the beauty and virtuosity of both instruments. Indeed who better to perform this work than the orchestra’s founder member and principal flautist, Helen Walton and their much acclaimed principal clarinetist, Robert Blanken? Taking the lead from the soloists the orchestra, joined in this piece by their own conductor on flute, Steve Tanner provided an assured accompaniment, which allowed the finesse and flair of both players to shine through. Their outstanding communication with each other and their audience throughout provided a truly unmissable performance. Concluding the concert with arguably the first of Mozart’s more sophisticated works, Symphony 29 in A Major, ex-Marine musician Tanner took firm control of the orchestra to achieve real unity of sound throughout, with apt robustness especially pertinent at the opening and later in the minuet and finale.