United Kingdom Rachmaninoff: Leif Ove Andsnes (piano), Kristina Mkhitaryan (soprano), Dmytro Popov (tenor), Kostas Smoriginas (bass-baritone), London Philharmonic Choir (artistic director: Neville Creed), London Philharmonic Orchestra / Edward Gardner (conductor). Royal Festival Hall, London, 28.9.2024. (JR)
Rachmaninoff – Piano Concerto No.3, Op.30; The Bells (Choral Symphony), Op.35
Two works by one composer in this concert, very different in nature. Rachmaninoff’s Third Concerto is a fine work, even if it is not as popular as his Second. In many ways, his Third is his most admired. It is one of the most technically daunting of all the major piano concertos. Leif Ove Andsnes sailed through it at a lick, cutting off five minutes from the usual performance time. It held the capacity audience spellbound. Andsnes needs no histrionics à la Yuja Wang to impress, his sheer musicality and virtuosity are plain for all the see and hear. The first movement was full of muscularity, most exciting; rapt attention given by everyone in the hall for the lengthy first movement cadenza. Andsnes poured plenty of Romantic warmth into the second movement, the Intermezzo, before launching into a thrillingly fast Finale. Gardner and the London Philharmonic Orchestra accompanied with precision; pianist and conductor exchanging frequent glances to ensure tempos were aligned. This was a simply phenomenal performance and rightly rewarded by a standing ovation for Andsnes
Rachmaninoff’s The Bells is a relative rarity on the concert platform, for good reason. It is not a particularly approachable work for non-Russians, and with a running time of just over half an hour, it is not an ideal work to fill a concert’s second half. It does not end exuberantly, so reception is muted. One is unsure whether it is a choral work or a choral symphony, the Russian text is a translation of poems by Edgar Allen Poe, whose works bring horror films to mind. Indeed, there is an air of melancholy and spookiness to the work which does not endear. Having got the negatives out of the way, the work received a fine performance even if the last ounce of radiance and atmosphere was missing. Gardner knows the score well, having conducted it with the BBC ten years ago at the Proms. Ukrainian tenor Dmytro Popov, well known on the opera stage for some while, took a little time to warm up his intonation and was not particularly lyrical. Russian soprano Kristina Mkhitaryan floated her high notes with ease and acted the part, with very expressive hand gestures. Lithuanian bass-baritone Kostas Smoriginas commanded the stage and gave a stentorian, sonorous rendition of his priest-like bass solo.
The chorus were first rate; heads buried in the score indicated that this is not a work they sing often and probably the first time for many of the younger chorus members. They have to get their tongues round the Russian text, which adds to the difficulty. Volume, dynamic control and pitch were faultless. Although the words were in the programme, surtitles might have been the better option. Oddly, there are hardly any actual bells in the work, just some tubular bells. Occasionally the score reminded one of Boris Godunov, where there are bells-a-plenty. Rachmaninoff evokes the sound of bells using other instruments, such as the celeste. The alarm calls in the frenzied third movement are evoked by the forceful chorus, who bristled with terror. The orchestra again played second fiddle to the vocalists, the lamenting cor anglais solo however (Sue Böhling) stood out and was particularly impressive. The most beautiful music is reserved for the final page, where the organ joins the orchestra to bring the work to serene rest. An obscure work which, despite its difficulties, should be heard when one has the chance, especially as you do not get a chance to hear it that often.
John Rhodes
Featured Image: Edward Gardner conducts the London Philharmonic Orchestra © Mark Allan