Critical Acclaim
Andrew Mogrelia’s superb dynamic control kept the Opera Orchestra on track. This concert by the Opera Australia Orchestra presented works by three important figures in contemporary classical music. In the 30 years since the premiere of American composer John Adams’s first opera, Nixon in China, it has consolidated its place as one of the great 20th century operas. Familiarity with Edo de Waart’s 1988 recording of the piece meant conductor Andrew Mogrelia and the OAO’s slightly swifter opening initially startled. However, their tempo choices captured the captivating ebb and flow between momentum and spaciousness. The performers’ rhythmic acuity realised the alternating sequences of propulsive drive and gently pulsing metres with equal assurance. Mogrelia’s superb dynamic control ensured the OAO shifted effortlessly between restrained background accompaniment and forceful foreground dominance. The OA chorus impressed with its well-blended sound, excellent diction and emphatic staccato passages. The male singers dominated the two Act 1 scenes. As Richard Nixon, baritone Luke Gabbedy’s dark-hued timbre and firm-voiced power captured the US president’s capricious character. By contrast, fellow baritone Christopher Tonkin’s lighter and more shaded voice was ideally suited to the eloquent yet enigmatic Zhou Enlai. Bass David Parkin (Henry Kissinger) had little to do but still sang with appealing burnished warmth. The female singers took centre stage in the two scenes from Act II. Soprano Jane Ede (Pat Nixon) shrewdly balanced lush tone colours with piercing clarity. Her aria This is prophetic is the opera’s lyrical heart and Ede’s supple phrasing realised its visionary beauty. As Madame Mao, soprano Eva Kong’s clear-voiced, slightly brittle timbre and agile line created a compelling, chilling account of “I am the wife of Mao Zedong”. The concert’s first half featured works by two musicians who achieved fame through pop music yet have also developed distinctive classical music voices. Popcorn Superhet Receiver (2005) by Radiohead’s lead guitarist Jonny Greenwood is an intriguing exploration of string orchestral textures and colours. Mogrelia and the OAO strings’ clearly defined lines illuminated its intricate textural complexity while their well-sustained glissandos and tremolos and aggressive Bartok pizzicatos brilliantly realised Greenwood’s inventively deployed array of effects. The Australian premiere performance of St Carolyn by the Sea (2011) by the National’s guitarist Bryce Dessner showed he has a deep understanding of structure and orchestration. Mogrelia and the orchestra’s tempo and dynamic control carefully shaped its gradual transformation from a dreamy opening into a vigorous climax. JOHN ADAMS - The Nixon Tapes I. Vivid Live, Concert Hall, Sydney Opera House, June 5, MURRAY BLACK, The Australian, June 7, 2017
Kondo ripped through Odile’s blazing set piece of fouette turns, aided by guest conductor Andrew Mogrelia’s highly supportive tempi in this magical score. He led the Australian Opera and Ballet Orchestra in a strong, dynamic accompaniment.
TCHAIKOVSKY - Swan Lake, Australian Ballet, Australian Opera & Ballet Orchestra - The Australian, April 2016
What sweeps all mis-steps before it is the narrative surge of Tchaikovsky’s magnificent score here snappily played by the Australian Opera and Ballet Orchestra with Andrew Mogrelia as guest conductor.
TCHAIKOVSKY - Swan Lake, Australian Ballet, Australian Opera & Ballet Orchestra - Daily Review, April 2016
In the pit, departing music director Andrew Mogrelia conducted a rich and refined performance of the durable Prokofiev score, mining details lesser conductors have missed. As a swan song, this Romeo & Juliet will do very nicely. Mogrelia, who leaves after a two-year tenure, will be a hard act to follow.
PROKOFIEV - Romeo & Juliet, San Francisco Ballet Orchestra - Voice of Dance, May 2005
Andrew Mogrelia, wrapping up his first season as Ballet music director, has previously recorded this score and is clearly more than comfortable with its strengths and weaknesses. As he led the orchestra through the various leitmotivs, he created a through-line of lyricism that almost seemed to shimmer in pastel colors. If the dancers looked relaxed and playful, much of it had to do with Mogrelia.
DELIBES - Sylvia, San Francisco Ballet Orchestra - San Francisco Chronicle, May 2004
This was a joyful performance, thanks to Andrew Mogrelia’s conducting. He is a wonderful conductor who brought out the best in our Opera Orchestra.
TCHAIKOVSKY - The Nutcracker, Norwegian Opera Orchestra, Guri Pahle Glad – Klasse Kampen, December 1999
Whatever the reason or combination of circumstances - Mogrelia's experience with young musicians, the particular blend and balance of players in the NYO's current line-up - the orchestra was sounding in finer fettle than I've ever heard it before...Mogrelia gave the impression that his was a calming influence, capable of creating a sense of easeful space where, without the rush of adrenaline, time could be found for more of the responsive listening that produces responsive playing.
National Youth Orchestra of Ireland (National Concert Hall) Dublin, January 1996
...the sheer commitment of this performance, perhaps the most moving I have heard since the 1962 Coventry premiere...the Conservatoire Symphony Orchestra played outstandingly under Mogrelia's clear, reassuring baton.
BRITTEN - War Requiem, Birmingham Conservatoire Symphony Orchestra, 1996, Birmingham Post
Andrew Mogrelia, a youngish conductor whose star has lately - and on this evidence deservedly - begun to rise, engineered all the ripeness, mystery and darkness one could want.
National Youth Orchestra of GB (Barbican Hall), The Times, January 1993
...the lean, intense, brightly differentiated lines that Mogrelia drew from Brahms's Second Symphony.
National Youth Orchestra of GB (Barbican Hall), The Independent, January 1993
His account of Tchaikovsky's second great full-length ballet is not only dramatic, when called for, but graceful and full of that affectionate warmth and detail which readily conjure up the stage imagery...The ear is seduced throughout, and Mogrelia leads the listener on from number to number with an easy spontaneity...Let me just say that quite irrespective of price, this is now a clear first choice among current recordings of the score.
TCHAIKOVSKY - Sleeping Beauty, Naxos recording - Gramophone Magazine, 1991
It most definitely is not a mere reading. Mogrelia's performance is full of individual touches...This is a first-class performance of the complete ballet.
TCHAIKOVSKY - Sleeping Beauty, Naxos recording - Fanfare magazine (USA) 1991
Panufnik's Sinfonia di Sfere [was] conducted by Andrew Mogrelia in a way which impressively delineated its exposed strands and tightly held in place its interlinking symmetries of design.
PANUFNIK - Sinfonia di Sfere, BBC Symphony Orchestra (Royal Festival Hall), Daily Telegraph, October 1991
Andrew Mogrelia led them in a brilliant, cogent reading.
PANUFNIK - Sinfonia di Sfere, BBC Symphony Orchestra (Royal Festival Hall), The Guardian, October 1991