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<\/p>\n\ud83c\udfad \tFantasia Orchestra: From Mahler to Manhattan<\/p>\n
\ud83d\udccd\u00a0 \tSmith Square Hall,Smith Square, London, SW1P 3HA<\/p>\n
\ud83d\uddd3 \tFriday 3rd July 2026<\/p>\n
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COOL SANCTUARY, LUKEWARM CONTRASTS<\/p>\n
There is something inherently magical about heading down to Westminster on a glorious summer\u2019s evening. Leaving the muggy July heat behind and stepping inside the cool, historic sanctuary of Smith Square Hall sets a special kind of mood. This particular night carried a bit of extra weight, too. It marked the final chapter of Fantasia Orchestra’s four-concert residency at the venue. An ambitious, season-capping milestone for an ensemble that has rapidly carved out a reputation for vibrant programming.<\/p>\n
The concept for this grand finale – FROM MAHLER TO MANHATTAN – was undeniably enticing. On paper, it promised a thrilling, cross-continental journey bridging the gap between Europe\u2019s twilight Romanticism and the golden-age swagger of early 20th-century New York. We were treated to a musical buffet spanning everything from Duke Ellington and Cole Porter to Richard Strauss, Elgar, and Gustav Mahler himself.<\/p>\n
Setting the tone for the night was conductor Tom Fetherstonhaugh. I have to say, I thoroughly enjoyed his chats with the audience at the start of both halves. He has an easy, engaging charm, and to be perfectly honest, I would have gladly welcomed more of this spoken word interplay between the individual pieces. A little more context and personal storytelling from the podium would have done wonders to break up the evening and knit the disparate genres closer together.<\/p>\n
Because as enjoyable as the evening was on the surface, I have to admit the execution felt slightly monochromatic. The extremely talented young players of the orchestra performed every single arrangement beautifully, but the evening lacked necessary contrast. It was all a bit sonic-cruise-control, missing the vital light and shade required to make a genre-bending programme like this truly pop. My personal low point was an old archival orchestration of “The Way You Look Tonight” that Fetherstonhaugh had unearthed. Rather than enhancing Jerome Kern’s timeless melody, the arrangement felt heavy, ultimately draining the piece of its natural buoyancy and wit.<\/p>\n
Thankfully, the orchestra was joined by the radiant Irish mezzo-soprano Niamh O’Sullivan, who possesses an absolutely beautiful voice. Her renditions of Great American Songbook staples like “I Get A Kick Out Of You” were nothing short of divine, showcasing a rich, velvety tone that wrapped around the audience.<\/p>\n
Yet, even here, the programmatic approach hit a snag. The only number that truly misfired for me – despite being delivered with the same exquisite vocal technique – was Stephen Sondheim’s “Send in the Clowns”. It was almost too\u00a0polished. I\u2019ve always felt this particular song relies on a fragile, slightly rough-around-the-edges vulnerability. When it’s served up this flawlessly, it risks feeling clinical, stripping away the raw, bittersweet emotion at the core of Desir\u00e9e’s mid-life regret.<\/p>\n
From a purely technical standpoint, I also think O’Sullivan would have benefited from a subtle, discreet microphone to amplify her voice ever so slightly. Smith Square Hall is an acoustic marvel, but when she dipped into her lower register, her vocals were occasionally swallowed up by the orchestration, making it difficult to hear her clearly over the instruments.<\/p>\n
Ultimately, this was a perfectly pleasant night of music-making, but I couldn’t shake the feeling that something fundamental was missing. I wanted more\u00a0texture. The arrangements frequently sidelined the harp and double bass, which felt like a massive missed opportunity. Unlocking those specific textures would have injected some much-needed depth and foundational warmth into the overall sound. A lovely summer outing, then, but one that left me wishing for something a bit more daring.<\/p>\n