Trinity Orchestra marked its 30th anniversary on Monday by performing to a packed Adam and Eve’s Parish. The Orchestra were greeted with a rapturous applause as they began a night of contemporary twists on classical music. This supremely talented troupe did not disappoint, displaying a great degree of preparation and technical skill.
The first piece of the night was Jean Sibelius’ Finlandia. Denoted in the night’s programme as “the turning point” in Sibelius’ career, it is fair to say that this energetic performance aptly turned the maidens of this genre present into fully fledged believers. The conductor Cathal Folan displayed captivating vigour, engrossing his audience with every flick of his wrist and wave of his hand.
With many standing to applaud the Orchestra, the night then progressed into a rendition of Franz Liszt’s Totentanz. This piece directly translates to Dance of Death, and as a result boasted a menacing undertone which served to entice as well as frighten. This particular instalment was undoubtedly the highlight of the night, as it was here that renowned soloist for the evening, Juliette Morrison, began to play the piano. Much like the omnipresent passion of Folan, Morrison’s control of the piano made the most intricate of movements seem simple. Only two songs in, she had undoubtedly stolen the show, and deservedly brought the audience to its feet once more.
Following a brief intermission, Aaron Copeland’s Fanfare for the Common Man, and Samuel Barber’s Adagio for Strings, Op.11 were played with apparent ease. Each of these pieces were a little more upbeat than the Totentanz rendition, and ultimately catalysed a feeling of cheer within the audience. The final piece of the night, William Grant Still’s Afro-American Symphony, served much the same purpose, and was performed with the same level of expertise as all of the songs before it. Having concluded, the Orchestra bowed as the crowd rose to its feet once more.
The concert came to a close with a brief address from Auditor, Luke Rynne Cullen. He thanked all of those present, and paid particular homage to soloist Morrison, conductor Folan, and of course the Orchestra committee, who he said worked extremely hard throughout the year. Despite coming to the end of his own term, Cullen laid out some exciting plans for the Orchestra’s future, professing “Vicar Street? The Olympia? Why not?” Indeed, it is not hard to imagine this ensemble filling such a venue, and if Monday’s performance was anything to go by, the Orchestra’s upcoming Trinity Ball performance is one ticket holders will not want to miss.