Konstantin Shamray, WA Symphony Orchestra, Asher Fisch play Prokofiev, Tchaikovsky, Beethoven at Winthrop Hall

Konstantin Shamray’s relaxed mastery held Winthrop Hall enthralled through Prokofiev’s breakout First Piano Concerto with WA Symphony Orchestra and principal conductor Asher Fisch at the weekend.

Broad chords and sweeping phrases channelled the confidence of the prodigy composer in orchestral power and precision illuminated by the soloist’s mesmeric technique.

Robust melody and scintillating runs triggered staunch interventions across the ensemble, yet the focus was always on the endless possibilities of the piano as Shamray projected preternatural calm through constant explosions of energy.

Brief silence ushered in the dreamscape Andante middle movement, with ethereal warbling from clarinet (Allan Meyer) matched by meditative magic in piano and a ghostly muted trumpet (Fletcher Cox).

Shamray’s fluid expression danced like sunlight on an ocean of symphonic depths, agitated by tidal strains yet ever buoyant; fading to a blissful cadence.

Short, sharp outbursts from the ensemble flipped the mood for the Allegro finale, scattering piano, trumpets then horns to the four winds, with stentorian trombones and tuba setting a firm foundation for more sinuous keyboard gymnastics.

Melodic diversions barely slowed the pace as the helter-skelter tempo of dazzling piano octaves drove the orchestra towards a crash-bang conclusion.

Repeated ovations then drew a solo encore of Prokofiev’s Summer Fairy, from the ballet Cinderella, adding a whimsical twist to a standout performance.

Tchaikovsky’s Romeo and Juliet Fantasy Overture opened the bill with sombre processional chords, solemn and prayerful to summon layers of strings and horns; mournful in bass then hopeful in woodwinds, with harp (William Nichols) broaching distant vistas.

Fisch shaped undulating waves of sound then stirred a breeze to raise a storm over booming timpani (Alex Timcke) as full orchestra fuelled the fire of family feuding in jagged, clashing discords.

Darker timbre settled the mood as cor anglais (Jonathan Ryan) intimated the aspirations of star-crossed lovers, bolstered by horns and flutes.

Of course, true love never did run true, breaking down in echoes of conflict spiralling to brass, percussion and frenzied strings. Sweet harmony returned through horns and woodwind, filling out gloriously with passion and pathos in the afterglow; “for never was a story of more woe”.

After the interval, majestic chords and serene oboe (Ryan) led in Beethoven’s Seventh Symphony with German trumpets (Cox and Peter Miller) blazing over timpani as strings and woodwind coloured the landscape.

Fisch wasted no time in whetting the poignant edge of Beethoven’s Romantic genius, timing to perfection the outbreak of the compelling dance theme.

Just two horns (David Evans and Julia Brooke) held the line in heroic style as drama, advancing and retreating, alternated with folkloric flourishes amid a florid soundscape, through to a rollicking conclusion.

Tragedy dawned in the deliberate onset of the funereal second movement; a homage to the suffering of Napoleon’s wars.

Yearning tumbled gently through the ranks in the upbeat trio section; a moment of grace to offset the portentous main theme, deftly delivered with an uncertain cadence.

Certainty returned in the Presto-Trio third stanza, its rhythmic bounce and festive spirit hurried along by Fisch’s infectious energy. Grandiose, rolling figures interspersed with vigorous dance measures reprised the pattern of the opening movement; each step measured in tone and dynamics.

Vim and vigour redoubled in the Allegro con brio finale as orchestral force took turns with lyrical interludes.

At the last, a fine balance between basses and brass at the back of the stage and melodic voices towards the front maintained momentum down to a swirling, ebullient finish.

WASO, Fisch and Shamray present the same program at Albany Entertainment Centre on August 28, at 7.30pm, and August 29, at 2pm.