The Auckland Philharmonia Orchestra delivered a compelling performance Thursday evening at Auckland Town Hall, featuring works by Grieg, Shostakovich, and Haydn under the baton of German conductor Karl-Heinz Steffens. The concert was marked by the virtuosic appearance of cellist Anastasia Kobekina, whose interpretation of Shostakovich’s Cello Concerto No. 1 drew particular acclaim.

The program opened with Edvard Grieg’s Peer Gynt suite, which set an engaging tone through its vivid orchestration and narrative clarity. Steffens, who previously impressed audiences with a performance of Bruckner earlier this year, demonstrated versatility by capturing the nuanced shifts in Grieg’s score. The orchestra’s woodwinds provided a bright, translucent texture in the first movement, gradually building into rich, sweeping sections. The strings conveyed deep emotion during the depiction of the protagonist’s mother’s death, while the dance of Anitra combined playful waltz rhythms with sharply articulated pizzicato passages. The finale, commonly known as the “Hall of the Mountain King,” concluded the suite with dramatic intensity, though some felt the climactic melody was somewhat overshadowed by overpowering chords.

Anastasia Kobekina’s performance of the Shostakovich concerto was a standout of the evening. Notably barefoot on stage, Kobekina engaged with the work’s demanding first movement through a combination of physical energy and technical precision, capturing the tension inherent in its dissonant and fast-paced passages. Horn player Gabrielle Pho’s contributions added atmospheric depth. The slow movement’s melancholic themes were rendered with poignant expressiveness, highlighting the emotional contrast that Steffens brought out in the orchestra’s accompaniment. Kobekina’s expansive cadenza conveyed a sense of dramatic immediacy and physicality, leading into a finale that affirmed the concerto’s chilling character. The cellist then surprised the audience with an encore—a new work by New Zealand composer Penny Axtens, experienced by the composer in the hall for the first time. The piece seemed to resonate with Kobekina’s interpretive style and was received enthusiastically.

Following the interval, the orchestra presented Haydn’s Symphony No. 97, delivering a light and elegant interpretation that emphasized the composer’s wit. Steffens navigated the swift transitions from the opening Adagio to the bold Allegro with clarity. Noteworthy moments included playful cadenzas from concertmaster Max Tan and principal oboist Bede Hanley during a pause in the final Presto movement, adding an element of spontaneity before the symphony’s energetic close.

Overall, the performance was marked by strong musicianship and a dynamic interplay between conductor, soloist, and orchestra, making it a memorable occasion for those in attendance.