A full house gathered at Lucas Parklands, Montville on the afternoon of Saturday July 12th for ‘The Ladies’, a chamber music concert featuring acclaimed violinist Amalia Hall and pianist Berta Brozgul. The event delivered a compelling blend of rarely heard repertoire, virtuosic performance, and interpretive depth in a program that paid tribute to women composers while traversing the broader landscape of Romantic and modern masterworks.
Romanticism and Rediscovery
The first half of the program focused on music by women, beginning with Clara Schumann’s Three Romances for Violin and Piano. Amalia and Berta immediately established a strong musical rapport, exchanging lyrical lines and supportive textures with expressive clarity. The third Romance, Leidenschaftlich schnell, was especially engaging, with Berta’s fluid accompaniment enhancing Amalia’s impassioned phrasing.
Fanny Hensel’s (nee Mendelssohn) März, from Das Jahr, followed—a piece of formal intensity and solemn character. Berta’s interpretation captured the contrast between its dramatic prelude and introspective chorale, highlighting Hensel’s compositional strength long overshadowed by her brother, Felix Mendelssohn’s, legacy.
Lili Boulanger’s Nocturne added a poignant voice to the set. With Amalia’s violin floating above shimmering piano textures, the duo traced a gentle arc of solitude and warmth. The final bars, rendered with finesse, drew the audience into a moment of quiet reflection.
Expanding the Palette
Janáček’s Violin Sonata brought a shift in mood. Its fragmented, emotionally raw character was vividly realised in the final Adagio, with Amalia’s playing alternating between tenderness and sudden bursts of intensity. Berta provided a steady and restrained backdrop that elevated the tension and drama.
Closing the first half was Scriabin’s Piano Sonata No. 4, an excellent vehicle for Berta’s formidable technique and interpretive control. Opening with a meditative stillness, the sonata built to a climactic burst of colour and energy. Her performance, both disciplined and expressive, was met with spontaneous and well-deserved applause.
Second Half: Masterworks and a Flourish
The second half opened with Mozart’s Violin Sonata in G major. Light, conversational, and elegantly phrased, the work showcased the duo’s balance and agility. Amalia and Berta maintained a spirited dialogue throughout, capturing the charm of Mozart’s quintessential classical style with precision.
Next came what many considered the emotional highlight of the afternoon: Chopin’s Ballade No. 4 in F minor, performed by Berta. She navigated its architectural complexity and dramatic sweep with nuance and poise. The ambient call of cockatoos from the surrounding rainforest added a characteristically local touch to the experience. Her interpretation of the final coda, a storm of virtuosic intensity, drew the most enthusiastic applause of the day.
Amalia then returned for a solo performance of Reena Esmail’s Darshan (3rd Movement: Raag Charukeshi). Rooted in Hindustani musical traditions, the work unfolded as an evocative soundscape of glissandi, drones, and expressive dissonances. Her bold interpretation drew on extended techniques to convey a deep sense of yearning and introspection. It was met with warm appreciation from the audience.
The formal program concluded with Ravel’s Tzigane, a dazzling tribute to Hungarian-Romani idioms. Amalia’s commanding opening cadenza led into a rhythmically driven, highly charged duet with Berta. The duo sustained a sense of increasing momentum, finishing with dramatic flair and precision. It was a thrilling end to an already impressive concert.
Encore and Final Reflections
Amid generous applause, the performers returned for an encore: the final movement of Cesar Franck’s Violin Sonata in A major (Allegretto poco mosso). Its jubilant interplay between violin and piano brought the afternoon to a resonant and extremely satisfying close.
“This concert was everything music should be—intimate and deeply expressive,” remarked one audience member.
“It was a privilege to witness two performers of this calibre right here in Montville,” said another.
About the Artists
Amalia Hall is one of New Zealand’s leading violinists. She has appeared as soloist with orchestras across Australasia, Europe, and the United States. A laureate of several international competitions, she is known for her expressive range and technical brilliance.
Berta Brozgul, born in South Africa and based in Australia, is a pianist of exceptional versatility and sensitivity. A graduate of the Australian National Academy of Music, she has performed extensively across Australia, Europe, and South Africa, and is recognised for her refined interpretive voice and wide-ranging repertoire.
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