United Kingdom Prokofiev, Tchaikovsky, Wagner: Roman Rabinovich (pianist), Royal Scottish National Orchestra / Ludovic Morlot (conductor). Glasgow Royal Concert Hall, 3.12.2022. (GT)
Wagner – Prelude and Liebestod from Tristan und Isolde
Tchaikovsky – Piano Concerto No.1 in B flat minor, Op.23
Prokofiev – Selection from Romeo and Juliet, Op.64
On a bitterly cold evening in Glasgow, it was warming to hear this programme of popular favourites in the run up to the festive season, it is some time since I have heard the Tchaikovsky B-flat minor Piano Concerto performed, and while the work exhibits all the best of the composer’s creativity, it is clear why it still exhibits some of his most popular music.
The Wagner Prelude and Liebestod opened on an overwhelmingly poignant note from the strings led by Maya Iwabuchi heralding a fine entry from Adrian Wilson on the oboe – it was clear that the orchestra were on outstanding form, and this was underlined by the melancholy solo from the cor anglais of Fraser Kelman. There were fine contributions from timpanist Paul Philbert, and Timothy Orpen’s eloquent clarinet heard against the hushed strings. In the Liebestod, there emerged a momentary glow offering hope from the woodwind, with the conductor Ludovic Morlot bringing the best from the strings and evincing more fine contributions from the flute of Kathryn Bryan, the harp of Pippa Tunnell, before bringing this heart-breaking passage to a sublime close.
The first occasion that Roman Rabinovich played with this ensemble was three years ago and, on that occasion, showed that he is an immensely gifted musician and a massive figure at the keyboard, producing the most roaring chords while able to perform the most tender and sensitive harmonies. The Allegro of the Tchaikovsky concerto opened magnificently on the brass matched by thundering piano chords from the Israeli pianist, with violins and cellos presenting the distinctive, spectacular idea – which in my opinion always seems rather insipid and weakly composed. Yet this was quickly forgotten as the mood was enlightened by solos from the flute of Bryan and Orpen on the clarinet, and the conductor evinced a fine build-up to an exciting orchestral interlude, and a wonderful solo passage on the piano from the soloist heralded the thrilling climax.
In the slow movement (Andantino semplice) the flute of Bryan was again touchingly poignant, and Rabinovich’s beautifully expressed piano chords seemed to release the tension bringing an air of deliverance in a child-like sequence that was underscored by Wilson’s oboe. In the central section (Prestissimo) the eloquence of the keyboard playing was complemented by a charmingly wistful waltz by the orchestra. The finale (Allegro con fuoco) began with an upsurge in a spirited keyboard passage from Rabinovich and this was accompanied by the flutes as a counter to the vibrant orchestral sound, leading to superb woodwind playing adorned in beautiful harmonies of balletic and folk influenced music. The final cadenza by Rabinovich led to a superbly accomplished culmination.
Prokofiev’s music is never far from this orchestra’s programmes; since Sir Alexander Gibson recorded a fine Fifth Symphony in the 1960s, this composer has been a favourite especially when Neeme Järvi recorded all the orchestral music. The composer himself produced two orchestral suites from his Romeo and Juliet, and this selection includes fourteen excerpts. The ballet is perhaps the composer’s finest stage work and is among the great twentieth-century ballets. This collection of excerpts includes the most exciting and touching moments of Prokofiev’s score, and throughout there are opportunities for virtuoso solos.
The Introduction was graced by the dulcet toned clarinet of Orpen and supported vividly by the low strings embracing all the theatre of Shakespeare’s tale, underlined by the extraordinary theme on the strings – at times, the orchestra sounded as good as Yevgeny Mravinsky’s Leningrad orchestra! There were particularly extraordinary entries from the oboe of Wilson and Gareth Brady on the saxophone. The Morning Dance was full of quirky rhythms, and a very Russian theme on the tuba of John Whitener heralded a magnificently bucolic idea on the trombones and trumpets! The Young Juliet exhibited stunningly virtuoso playing from Bryan on the flute against the cello of Betsy Taylor and the ever-harmonious brass group.
The Dance of the Knights brought out all the most dramatic and exciting harmonies with the strident, yet threatening hints from the brass. The idiom was broken in a romantic passage in The Balcony Scene with superbly evocative woodwind and a wonderfully effected violin duet between Iwabuchi and Marion Wilson. More atmospheric playing emerged in The Dance of Romeo and Juliet with a stunningly colourful theme shared among the strings and woodwind while Tybalt and Mercutio produced the most dramatic and exciting sequence characterised by the sensational brass group.
The theatrical crashes from timpanist Philbert were to the fore in The Death of Mercutio, this was followed by modernist cacophony in Romeo Avenging of Mercutio’s Death, and then in The Epilogue the strings and the cornet of Christopher Hart heralded the orchestra bringing the performance to a poignant close with The Death of Juliet.
This was an excellent evening exhibiting the very high-performance levels of the Royal Scottish National Orchestra and it was marvellously well-directed by the able hands of Ludovic Morlot, with the Tchaikovsky concerto being the glittering highlight.
Gregor Tassie