RUSSIAN PHILHARMONIC OF NOVOSIBIRSK: A WONDERFULLY FRESH ALL-RUSSIAN PROGRAMME
Memory plays tricks, but I'm sure I reviewed an orchestra from the Siberian city of Novosibirsk playing here 28 years ago, when Symphony Hall first opened. Whatever the case, the Russian Philharmonic of Novosibirsk is young and fresh, and the combination of youthful players and a veteran conductor, Thomas Sanderling (whose father Kurt conducted such epic Shostakovich here) made for an absorbing exploration of well-known Russian repertoire -- and how they relished the capacity of Symphony Hall to deliver sonic glories!
Tchaikovsky's Romeo and Juliet was naturally built, delicate in dynamics, and with a general sense of cool restraint from which the big moments (not least the piercing trumpet ascent at the
height of the warring fugato) emerged spectacularly.
Another Romeo and Juliet, Prokofiev's ballet, is evoked in that composer's Second Violin Concerto, and here soloist Alexander Sitkovetsky continued the current of understatement, blending his tone into the texture of the orchestra whilst still coaxing his instrument to sing now throatily, now sweetly, and always in narrative mode.
There was wonderful orchestral collaboration here, not least from the bassoon amidst the slow movement's filigree, and the pearly bass drum propelling the finale to its manic conclusion.
Sitkovetsky dedicated his Bach encore to the memory of those killed in the Manchester Arena atrocity exactly two years ago, and then we embarked on two vibrant orchestral showpieces.
Rimsky-Korsakov's Capriccio Espagnol, always a delight to hear, was idiomatically Iberian in delivery, brilliant in its showcasing of orchestral soloists, not least concertmaster Valeriy Karchagin, and paving the way for a stunning Mussorgsky Pictures at an Exhibition.
Who needs any of the other dozen-plus orchestrations when that by Ravel says it all? It grants opportunities to the players (all triumphantly taken here) whilst conveying all the piano original's aspirations to a lapping-up public.
Symphony Hall has heard this piece so often, but Sanderling's reading blew off the cobwebs. And the encore, the Pas de Deux from Tchaikovsky's Nutcracker, was simply the icing on the evening's glorious cake.
MIDLANDS CLASSICAL MUSIC MAKING
Christopher Morley's essential guide - with contributions from his team of specialist reviewer
May 22, 2019
Siberian Night in Perth with the thrilling Russian Philharmonic of Novosibirsk
The Perth Festival of the Arts has been quietly brightening up the latter half of May for 48 years, attracting performances the city would certainly miss otherwise. It is a festival which has
broadened out to cover a larger range of artistic genres, widening its appeal, but retaining the healthy core of classical material. A feature of the Festival is that young musicians are billed
in the programme alongside the big names like English Touring Opera and The Sixteen. Perth Youth Orchestra plays at the opening service, local secondary schools perform lunchtime concerts and
there are recitals from young musicians embarking on their careers. Perth Concert Hall was packed out for this closing concert, the audience eager to hear the large Russian Philharmonic of
Novosibirsk tackling staple Russian repertoire.
Siberia’s Novosibirsk, the third largest city in Russia – sometimes called Russia’s Chicago – sits about halfway along the trans-Siberian railway. It was birthplace to this performance’s conductor, Thomas Sanderling, when his father Kurt was assistant to Yevgeny Mravinsky, chief conductor of the exiled Leningrad Philharmonic in 1942. Novosibirsk was the wartime temporary home to several major artistic institutions, which ironically lead to a surge of post-war creativity and the formation of the Russian Philharmonic of Novosibirsk in 1956. Sanderling has had a distinguished career, including being approached by Shostakovich to conduct the western premieres of his 13th and 14th Symphonies, and has returned to the city he left as a two-year-old to take up the role of this orchestra’s Principal Conductor in 2017.
Tchaikovsky’s symphonic poem Romeo and Juliet, Fantasy Overture was a dramatic opener, beginning mysteriously with soft woodwind and horns floating over strings and harp. Sanderling carefully balanced his forces, then slowly wound them up into a very lively development, the string players’ energy almost boiling over as they attacked the fiendish unison passages with a thrilling Russian swagger. The woodwind had a beguiling timbre almost like a harmonium with a reedy edge, giving a warmth to the quieter passages with fine work from the cor anglais and luminous harp. The energy and passion of the main theme bursting out with brass ablaze was electrifying, but the almost chorale-like ending with searing strings preceded with ominous drum beat was especially touching.
Paganini’s theme from his Caprice no. 24 is well known, attracting a long list of composers who have used and adapted the catchy tune. Rachmaninov’s Rhapsody on a Theme of Paganini is perhaps the most famous, almost a boutique piano concerto with its set of 24 variations. Siberian-born Sergei Redkin, a young pianist with a string of prestigious international prizes to his name, on a rare UK visit provided much excitement in this lively interpretation. Taking a studious rather than flamboyant approach, Redkin’s firm touch initially threatened to overwhelm the opening delicate passages in the orchestra, but the balance soon settled down. Sanderling was alive to the nuances of each variation, driving the players on with a sharp crackle at the livelier end, but allowing space in the more restrained variations with room to develop a sense of wonder – especially in solos from the leader bassoon and soulful clarinet. Rachmaninov’s Dies Irae arrived early on, Redkin’s sombre chords a sudden contrast to his punchy bright attack, and he was beautifully lyrical in the famous "inverted" variation. The finale – so daunting that Rachmaninov reportedly fortified himself with a shot of Crème de Menthe to get through it – was exhilarating, with pianist and orchestra rushing along like a Siberian whirlwind.
Finally, the players delivered a shattering performance of Tchaikovsky’s Symphony no. 6 “Pathétique”, a work that follows the turmoil of the composer’s last days. The quiet bassoon opening with violas and dancing flutes was soon shattered, a tumultuous outburst from timpani and brass, the five horns adding to the drama with their “bells up” playing. Sanderling guided the players along the journey with well-judged experience, the great sweeping themes in the cellos, yearning violins and the colourful pointed woodwind with a wonderfully haunting clarinet solo. The boisterous third movement was taken at speed, scurrying strings and jaunty clarinets giving way to triumphant music, delivered with muscle and verve. The final adagio painted grey colours initially, but the woodwind’s glowing warmth brought hope, the string players tearing into the anguish before the brass chorale signalled the slow fade to double bass.
With its all Russian personnel, international recruitment may have not reached this orchestra, but watching them leaning into this music with complete commitment, this repertoire is clearly in the blood. Ending the concert and their UK tour, the orchestra dispelled any gloom by giving a spirited encore of the Pas de deux from The Nutcracker.
By David Smythe, 27 May 2019