For the first half of this spellbinding recital, Maxim Vengerov chose three works framed by one of Romantic music’s most infamous and turbulent stories.
The showman was back – and, bless him, he can still sell every seat in a big hall even if the programme offers close on an hour and a half of unalloyed Bach.
It’s a given that no finer Rachmaninov interpreter exists than Nikolai Lugansky – a few others may see the works differently, not better – and that Vasily Petrenko has an uncanny affinity with both the swagger and the introspection of Elgar. But just how clearly and deeply both made their understanding felt seemed like an harmonious miracle in the most famous of all Second Piano Concertos and a parallel journey of revitalisation from Petrenko in Elgar’s world-embracing First Symphony.
Documentaries intended for cinema release don’t always come off, and cynics might suggest that Sheila Hayman’s Fanny: The Other Mendelssohn would work perfectly well as a BBC Radio 3 broadcast. Fortunately, Hayman’s visual flourishes and a sense of how to tell a good story make this film work.
For the most adventurous programme in its autumn Saturday series at the Bridgewater Hall, the BBC Philharmonic’s John Storgårds brought two works from his native Finland’s repertoire, and a concerto some distance from the beaten track.Like the Hallé’s concert of mainly new music with Thomas Adès two days before, it did not pull the crowds in, despite a sweetener in the mix, but those who were there were enthusiastic.
Kabeláč: Eight Preludes, Motifs from Exotic Lands, Smetana: Dreams Jan Bartoš (piano) (Supraphon)
The Philharmonia’s current season, Let Freedom Ring, celebrates American music through some notably interesting programming. And although last night’s concert was very conventionally structured, with an overture, concerto and big symphony to finish, it was also the chance to hear some repertoire only quite rarely presented.
Thomas Adès had a job to do in his first concert with the Hallé since being appointed Artist-in-Residence for the next two years: to win over the audience that came to witness it.
It wasn’t a sell-out (anything that smacks of new music is unlikely to draw a huge number to the Bridgewater Hall, no matter what sweeteners are provided), but for those who were there he definitely succeeded, and by the end they were shouting their approval.
A full Wigmore Hall always feels special. Formerly we saw a board with the words “HOUSE FULL” on it, in large, bright red capital letters at the entrance. If we had tickets back then, we knew how lucky we were. These days, the 552-seater hall gets booked out far more often, as it was last night. The promise of a programme of Schubert (both of the piano trios composed near the end of his all-too brief life) played by performers including András Schiff had filled the hall.
Young French soprano Clara Barbier Serrano has everything it takes to shine in an overcrowded singers’ world, including vivacious communicative skills – I witnessed those for the first time last Tuesday, when she performed at the Oxford International Song Festival without the score in front of her – attention to detail and a knack of forging unusual programmes beyond the usual song-recital round, commissions included.