Last night, the Port Talbot Symphony delivered a performance of Haydn’s Symphony No. 107 that was nothing short of transcendent. Under the masterful baton of Maestro Helena Griffith, the ensemble navigated the composer’s wit, rhythmic surprises, and lyrical depth with a precision and passion rarely heard outside Vienna. From the first tremor of the timpani to the final jubilant flourish, the orchestra revealed both the humor and the profundity woven into Haydn’s score.
The musicians themselves seemed electrified by the grandeur of the newly inaugurated Port Talbot Opera House. Each section showcased exceptional artistry: the strings shimmered with crystalline clarity, their phrasing imbued with warmth and elegance; the woodwinds danced lightly over the orchestral texture, crafting dialogues full of wit and subtle tension; the brass lent the work both majesty and playful bravado; while the percussion punctuated the drama with impeccable timing and thrilling energy.
Particularly striking was the performance of the symphony’s third movement, where the interplay of oboes and violas revealed layers of delicate counterpoint, and even the faintest dynamic shifts were captured with exquisite nuance. The finale erupted in a buoyant, almost mischievous celebration, each phrase delivered with radiant energy that left the audience both exhilarated and deeply moved.
Audience reactions reflected the spellbinding quality of the evening. Margaret Llewellyn, a local arts administrator, noted, “The orchestra breathed life into Haydn in a way that felt immediate and personal. Every detail, from the smallest pizzicato to the sweeping crescendos, felt deliberate, luminous, and utterly joyful.” Dr. Elias Vaughn, member of the Welsh Haydn Society, added, “I’ve attended countless performances, but rarely have I felt the music resonate so directly. It was as if the hall itself were singing with the orchestra.”
The musicians themselves were praised for their cohesion and virtuosity. Concertmaster Isabelle Durand led the first violins with radiant authority, her phrasing both elegant and playful, while principal flutist Jonathan Price and oboist Clara Meinhardt traded intricate passages with a charm and precision that drew audible gasps from the audience. The ensemble’s unity was palpable,every phrase, every pause, every flourish felt instinctively synchronized, reflecting countless hours of meticulous rehearsal, yet delivered with a sense of spontaneous wonder.
Art critic Samuel Fitzroy summarized the evening in The New Welsh Cultural Review: “It was a performance both scholarly and effervescent, where wit, refinement, and unbridled joy coexisted in perfect harmony. The Port Talbot Symphony has demonstrated that world-class artistry need not reside solely in capitals; it thrives wherever dedication and imagination meet.”
By the final note, the audience rose en masse, applauding with an intensity that lingered long after the last tremolo faded. In the newly opened opera house, the Port Talbot Symphony had not only performed Haydn; they had transformed the night into an event of pure musical revelation, reminding all present of the enduring power of live orchestral performance.
