Unfortunately it wasn’t a full house (something about some football team
losing, I don’t know...). However as much I think such a special evening ought to have
commanded more bums on seats, those who were there would not have traded it for
the world.
Mendelssohn’s ‘Ruy Blas’ Overture kicked off the evening, to a
rapturous applause, Chief Conductor Domingo Hindoyan, walked on the stage and
took his place at the rostrum. Having never heard the overture before it was a
delightful treat which pleased the audience and established the talent and
exceptional quality of the orchestra and its members for the night, just in
case there had been any doubt from anyone. At only seven minutes' long, I was
left wanting to hear more, and were it not for the piece that was to follow, it
would be in this reviewer’s opinion that Mendelssohn’s Overture would have been
the big take away of the night.
In the days preceding the
concert, I found myself humming and tapping my fingers along to the maestro’s
Second Piano Concerto. In the shower, vacuuming, cleaning, gardening, you name
it I was going over the movements in my head. It will certainly be the case
that I’ll be doing the same in the days following it too. I, like many, many
others, know the piece because of ‘Brief Encounter’, and it’s a pairing that is
so well known, it was referenced in the online description for the concert. One
could ask to what extent ‘Brief Encounter’ contributes to the longevity and
popularity of the work. The piece by itself is more that
capable enough to attract both those qualities, but I will forever picture
Laura sat in her armchair staring blankly into the distance as the third
movement plays.
Anyway. This review is not about
the relationship between the film and music, as interesting as it may be, but
rather the splendid performance given by Sergei Babayan at the piano. After a
slight rearrangement on stage, and with the Steinway grand piano in it's place
and ready, we welcomed on stage the pianist. Incredibly modest, but confident
of his abilities, Babayan’s performance was almost hypnotic as the audience
watched his hands float effortlessly across the keys of the piano. Paired with
the energetic, commanding and fiercely passionate conducting of Hindoyan, any
sentimentality for the film was stamped out as both made sure that it was
purely about the music.
Looking at the pianist’s face, one
could see a range of emotions across the three moments, from pain to delight, the
Second Piano Concerto was Babayan’s first experience of Rachmaninov, and it
can only be guessed how much the relationship between composer and performer
has blossomed over time.
There was no time wasted from the
end of one movement to the beginning of the next. There was a eagerness from Hindoyan,
Babayan and the Orchestra, as well as a silent anticipation from the audience as
to the execution of the concerto, which rolled over from the first, second and
into the third and final, climatic movement. At points, the pianist seemed to
tease the audience, taking an extra few beats here and there to realise his vision.
We were in the palm of Babayan’s hand, holding onto every lingering note he
played as it softly diminished into the air of the hall.
Receiving a very well-earned
standing ovation and multiple thunderous encores, Babayan came on stage for a
final time to perform a very short piece which seemed almost improvisational.
Again the musician’s fingers moved fluidly across the keys as he performed the
avant-garde melody.
After the interval, refreshed and replenished, everyone took their seats
for the final piece of the evening. Brahms’ Symphony No. 1. Like the
Mendelssohn at the beginning of the evening, I was unfamiliar with it, and
although not to my taste, the first and third movements left a lasting
impression. The violins towards the end of the third movement were sublime, with Amarins Wierdsma's highly
evocative and emotional lead standing out beautifully and forming a lasting
impression on the audience.
Unfortunately that little gremlin who seems to have been following me to
performances lately was in attendance here too, as they decided to have a go at
unwrapping the world’s largest hard boiled sweet during the first movement! Nevertheless, the Brahms was very good and
conducted without music! Standing centre stage, the conductor very much took
centre stage as his movements were captivating. Jumping, and pointing fiercely
at the different sections, it’s conductors like Hindoyan that add to the
overall theatrics and experience of seeing a live orchestra.
Despite the alcohol-fuelled chaos
going on outside, it was like stepping into another world as we passed through
the doors. The performances brought wave after lapping wave of calmness and
serenity. Furthermore it must be added that part of the success and wonderful
experience of the evening, and in a more general sense, previous performances
which I have attended, is the Philharmonic Hall itself. A warm and inviting
venue with friendly and helpful staff, and sitting amongst the beautiful
architecture and decorations, one always feels comfortable enough to relax into
the music without worry for a pretence of pomp and stuffiness.
Reviewer - Daryl Griffin
on - 28.5.22
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