St David’s Hall has found itself in the centre of public debate lately, as news broke last week that Cardiff Council was considering a proposal from a private firm, Academy Music Group, to take over ownership of the beloved concert venue. As of this writing, more than 15,000 people have signed a petition calling for St. David’s to be protected as a vital performance space for classical music in the heart of Cardiff.

On Monday November 28, as if to reinforce its importance to Cardiff’s vibrant cultural scene, St David’s hosted the Sinfonia of London, billed as a “super orchestra” of top musicians hand-picked by artistic director John Wilson. Originally established in 1955 chiefly as a recording orchestra, Wilson revived the orchestra in 2018 and in a few short years has propelled it to sold out concerts across the UK, not to mention reviews so universally gushing that they border on the hyperbolic. (The Sinfonia of London is not to be confused with the City of London Sinfonia– a case of absurdly confusing nomenclature worthy of a Monty Python skit). 

Opening with William Walton’s boisterous comedy-overture Scapino, Wilson and his musicians established their trademark bold attack and swaggering virtuosity right off the bat. Walton composed the work in 1941 as a commission for the Chicago Symphony, home to one of the world’s great brass sections, and the Sinfonia brass negotiated the spirited music with ease. Wilson’s approach to conducting is remarkably economical and un-showy; like a master jockey, he can control this powerhouse ensemble with the lightest touch, and mostly knows how to stay out of their way.

The Sinfonia’s feel for panache and razzle-dazzle was on full display for Gershwin’s Rhapsody in Blue. Joining the ensemble was 26-year old British pianist Martin James Bartlett. Bartlett certainly has technical chops and musical charm to spare, but his Gershwin felt over-thought and overwrought. His playing was fussy and precious, with odd rubato choices that he perhaps thought sounded more “jazzy”. The sexiest, most impressive versions of the Rhapsody happen when the pianist relaxes into the pocket of the music, letting Gershwin’s bluesy growls and soaring skyscraper melodies speak for themselves.

The balance of the program was devoted to works by the French impressionists Maurice Ravel and Claude Debussy. For this refined repertoire, Wilson’s approach needed more polish and shimmering French elegance. In both Ravel’s Valses Nobles et Sentimentales and Debussy’s La Mer, his focus on rhythm and impulsion created a sense of drama and cinematic excitement (at one point his baton went flying into the viola section), but it was too often at the expense of more nuanced orchestral colour and patient, sustained legato. The rarely performed original version of Ravel’s Bolero, composed in 1928 for the flamboyant Ballets Russes dancer Ida Rubinstein, sounded glaringly Spanish rather than achieving a more subtle effect of Spain viewed through a Frenchman’s wineglass. Some of the orchestral solos missed the mark here, in particular the tenor and soprano saxophones. Still, there was no denying the musicians’ visible enjoyment in performing this satisfying work, nor Wilson’s skill in allowing the dynamic tension to build until its explosive final flourish. 

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Natasha Gauthier has been writing about classical music in Canada and the US for more than 25 years. She is the former classical music critic for the Ottawa Citizen, in Ottawa, Canada. She currently writes for Early Music America Magazine, Opera Canada and Ludwig Van, among other online and print publications. In June she was a teaching fellow at the Rubin Institute for Music Criticism at the San Francisco Conservatory of Music. She moved to Cardiff in September 2022 to complete a postgraduate degree at Cardiff Uni. When not attending concerts, she spends her free time here breathing in the sea air, admiring the clouds, learning Cymraeg and trying to make friends with the magpies.