Russian National Orchestra

Concert Review: Russian National Orchestra

March 24, 2018, Shenzhen Concert Hall
Russian National Orchestra - Pletnev - Sladkovsky
All Rachmaninov

Just a few days ago I discovered this concert, and the surprise was that there were still reasonably priced tickets left (whereas German orchestras and LSO get almost sold out way in advance, go figure)!

Like many Russian orchestras, to earn hard currency the Russian National Orchestra are constantly on tour. Their official website shows they are in the midst of a hectic China Tour. This particular leg has 2 programs over 4 consecutive nights in 4 different (though nearby) cities - Zhuhai and Guangzhou the two nights before Shenzhen, and Nanning the night after. Poor musicians!

The concert featured RNO founder Mikhail Pletnev, who had just turned 60, as pianist, not conductor, the role of which fell to Alexander Sladovsky. The former needs no introduction. The latter is certainly not well known in the West (or East), possibly due to lack of recordings, but is apparently quite well regarded and an interesting figure (see IMG Artist website).

We all have the misconception that Russians perform their own works in a highly emotional manner. Judging from the concert, that could not be farther from the truth. The Rachmaninov Piano Concerto No. 2 was devoid of excess, fluid and richly nuanced, with beautifully shaded performance by Pletnev, who actually went out of his way to avoid bombast. The texture was remarkably transparent, aided by strings which were reduced by at least a third. The performance was not unlike that by the Moscow Philharmonic/Yuri Simonov in 2016 (here,) though surely Pletnev was the (much) better pianist. Pletnev played several encores, some of his own creations.

The full orchestra delivered an excellent account to the Symphonic Dances, again without an ounce of extra fat. Most performances concentrate on delivering brilliance, but this reading was quite subtle and illuminated from within. Rhythms were inimitable - witness the fine lilt of the waltz and the playing of the percussionists, the tam-tam in particular. The strings were very refined and the winds and brass played with fine color. Occasionally, as is wont for Russian touring orchestras, they lack the last bit of ensembleship, but the overall musicianship was of the highest order and admirable.

Concert Note: Kirill Gerstein

Feb 11, 2018, Town Hall
Kirill Gerstein Recital
Bach - Debussy - Chopin - Ades - Brahms

A short note on a concert I had forgotten to enter in this blog.

It's been a long time since I last heard Kirill Gerstein, who had many years ago appeared with the HKPO. I remember him as a barnstorming virtuoso, so this recital, part of NY's wonderfully egalitarian Peoples' Symphony Concerts, came as a surprise.

Concert opened with a rarity, Bach Four Duets, which received a controlled reading that lacked a little flair. Gerstein's very straightforward way worked wonders with Debussy's Preludes, Book I. No mist, nothing vague, but still atmospheric and well-sculpted.

The second half opened with Three Waltzes of Chopin, followed by Three Mazurkas of Thomas Ades. All were played with sensitivity and coherence. But the crowning jewel of the evening, one which revealed the towering stature of the pianist, was the marvelously architectural reading of the rarely heard Brahms Sonata No.2.

Superb!