Philharmonia Orchestra's Performance at Canterbury's Marlowe Theatre: A Mixed Experience

The Philharmonia Orchestra's recent concert at the Marlowe Theatre in Canterbury, conducted by Marin Alsop, showcased a diverse program that included Arturo Márquez’s *Danzón No. 2*, Gabriela Ortiz’s *Cello Concerto “Dzonot”*, and Rimsky-Korsakov’s *Scheherazade*. Despite the orchestra's strong performances, the venue's acoustics significantly impacted the overall experience, leading to a mixed reception.

The Guardian

The Marlowe Theatre's acoustics were described as "desiccated," which hindered the orchestra's performance by exposing flaws and diminishing the atmospheric quality of the music. Critics noted that the sound quality was akin to an "anechoic chamber," detracting from the emotional depth of the pieces performed. This acoustic challenge was particularly evident during the performance of *Scheherazade*, where the sonic drama is crucial.

The Guardian

The concert opened with a lively rendition of *Danzón No. 2*, characterized by its vibrant instrumentation, including a notable trumpet solo. The UK premiere of Gabriela Ortiz’s *Cello Concerto “Dzonot”* featured cellist Alisa Weilerstein, who faced technical difficulties with her chair during the performance. Despite these challenges, Weilerstein's virtuosity shone through, although the acoustic limitations kept the score's potential magic grounded. The concert concluded with Anna Clyne’s *Restless Oceans*, which reflected the frustrations of the performance environment.

The Guardian

Marin Alsop, the principal guest conductor, acknowledged the venue's challenges, indicating that she was aware of the acoustic issues from her previous performance at the theatre. The concert's atmosphere was further complicated by logistical issues, such as Ortiz's inability to access the stage for a bow, which underscored the venue's limitations.

The Guardian

Critics expressed disappointment regarding the venue's acoustics, which they felt undermined the orchestra's performance quality. The inability of the musicians to hear each other during certain passages was highlighted as a significant drawback, leading to a less cohesive sound than expected from the Philharmonia Orchestra.

The Guardian

• “The acoustic isn’t so much dry as desiccated, exposing the slightest flaws and offering all the atmosphere of an anechoic chamber.” — The Guardian

The Guardian

• “We worked on this earlier” Alsop grimaced, referring to Weilerstein's chair issue.

The Guardian

• “By the time Alsop returned to conduct Anna Clyne’s noisy, foot stamp-filled Restless Oceans as an encore, that work’s performative frustration seemed all too real.” — The Guardian

The Guardian

While the Philharmonia Orchestra delivered commendable performances under challenging conditions, the Marlowe Theatre's acoustics significantly affected the concert's overall impact. The experience serves as a reminder of the critical role that venue quality plays in live musical performances.

The Guardian