
REVIEW: Vienna Pops Orchestra’s NYE Gala opens era at Winthrop Hall
Vienna Pops Orchestra’s New Year’s Eve Gala saluted the past with a glimpse of the future, moving to UWA as Winthrop Hall replaces Perth Concert Hall during three years of renovations. Musicians warming up in the undercroft, ice-cream on the lawns and drinks under the portico were a taste of things to come, but the formula on stage was constant with Mark Coughlan conducting and Strauss to top and tail the bill.

Buoyant strains of Josef Strauss’s Polka “Without a Care” – or “No Worries”, as Coughlan quipped – embraced the matinee audience as established stars and rising talents launched the 37th edition of the Perth Rotary fundraiser.
More decorous in pace, Johann Strauss II’s Emperor Waltz sustained the bright and easy ambience, ebbing and flowing like a summer breeze. Isaac Davis’ cello solos were sonorously sure and brass enjoyed time in the sun as Coughlan coaxed and finessed each episode towards a thundering climax.

Soprano Jessica Blunt changed pace with Puccini’s La Boheme and Si, Mi Chiamimi Mimi; sung with colour and nuance over ambient amplification, duetting sweetly with flute (Emily Clements).
Rossini’s William Tell Overture shrugged off the sublime moment in vibrant fanfares from trumpets and horns, with woodwind and strings chiming in deftly over staunch timpani (Amanda Dean), cascading vigorously to the close.
Concertmaster Paul Wright then rose for Morricone’s Love Theme, from Cinema Paradiso, bringing a mellow romantic timbre to the film-score favourite. A warm yet ominous soundscape resonated generously across the hall, with magical sparkles from Joel Bass on xylophone.

Mezzo-soprano Caitlin Cassidy injected an exotic air with Seguidilla, from Bizet’s Carmen; floridly tolling out a boldy dramatic rendition, tragically all-too brief.
Von Suppe’s Morning, Noon and Night in Vienna doubled down on drama with a liberal addition of Viennese levity and a crash-bash conclusion from full orchestra.
Blunt returned with another foretaste of 2025 in Czardas, from Johann Strauss II’s Die Fledermaus; operetta at its most languid. Not for long, however, as Blunt’s abundant vocal power and agility asserted energy and emotion in full measure.
From power to potential, 14-year-old prodigy Ellie Malonzo dazzled with the Finale from Wienawski’s Violin Concerto No.2, a bustling display of exquisite artistry and technique. Coughlan’s introduction left out Malonzo’s prowess in composition, but for now a compelling and charismatic performance was plenty.

From the sublime to the almost ridiculous, Blunt and Cassidy combined in Rossini’s Cat Duet; two supremely confident singers content to clown around with their glittering talents, mimicking moggies and taking the mick out of their art.
How to follow that but with another surprise package: “Rusty Beltbuckle”, aka Perth actor Greg McNeill, in The Devil Went Down to Georgia, enlisting Blunt, Cassidy and violinist Emily Bouwhuis; the latter setting strings afire in a duel for the soul of music.
Returning to Earth, the serene lilt and rubato of Johann Strauss II’s Beautiful Blue Danube, bubbling up from source to the sea, danced into the night in time-honoured style.
And yet there was more, as Johann Strauss Sr’s Radetsky March played out to an avalanche of multi-coloured balloons, with more than one percussive pop to bolster the rhythm.
David Cusworth, Journalist
Forty years a journalist, David Cusworth is an award-winning sub-editor, arts reviewer and keen musician. A graduate from Durham University in the UK with honours in modern history, he has worked at The West Australian and The Sunday Times since 1990. Honours include eight WA Media Awards for sub-editing, the Statewide Clarion Award and Media, Entertainment and Arts Alliance Gold Honour Badge.