“I was happy to leave the concert hall with a spring in my step and wish them bon voyage on their long flight to Orlando”
The RSNO are rounding off their glorious 125th Season with a tour of the USA, Florida to be exact. Why Florida? Because classical music’s largest constituency is older people, and Florida is a state where they are legion, both full time residents and the “Snowbirds” who go for the winter. And Florida has more world-class concert halls than any other state in the USA. Five, no less. They played their final concerts in Glasgow on Thursday, and Edinburgh on Friday. There was a real whiff of excitement in the air. The last time they toured the States was 1992, before the fabulous Nicola Benedetti was born.
So Friday night’s audience, loyal to their orchestra and adoring of their favourite soloist, were in no mood to be troubled by the niceties of musical criticism, they were there to have a good time, and they did. Alas, it is the job of the music writer to point out the subtler issues.
The first half of the concert was, on paper, a romantic’s dream, Debussy’s Prelude a l’apres-midi d’un faune, followed by the ultra romantic Bruch violin concerto. This writer anticipated both eagerly. Both disappointed.
Principal flute Katharine Bryan led off the Debussy confidently and competently in what is an extremely exposed solo in a difficult register. The orchestra answered in a well played ten minute exposition of the theme, but only on a fairly superficial level. This work has mystery, shades of eroticism and soul, and we didn’t get this. Indeed, in the entire first half of the concert Peter Oundjian’s baton was there for the score, but too restrained in the exposition.
By all accounts Nicola Benedetti had given a bravura performance of the Brahms’s Violin Concerto in Glasgow the previous evening. Tonight we were all well up for the Bruch, arguably the most romantic violin concerto ever written, if not as great a work as the other three German concerti: by Beethoven, Brahms, & Mendelssohn. While one doesn’t want the soloist – or orchestra – to wear their hearts on their sleeves, there was much more that could have been brought out of the work by the soloist in terms of phrasing, power and sheer bravura of performance. Competently executed and, yes, restrained, we were left feeling puzzled and short changed. The presence of sheet music tucked away on a stand suggested a performer perhaps a little weary before the USA trip, allied with, unusually, no encore. Yet, of course, in the eyes of the RSNO claque she can do no wrong, and was applauded enthusiastically. The orchestra played well.
Live music is a fickle mistress and often provides the unexpected, both disappointing and pleasing. What on earth could the RSNO bring to Beethoven’s Fifth Symphony, and what new is there to write about it?
Well, the RSNO brought a fresh, lively approach to the work from the beginning of the well known opening theme. It was as if they had received a half time pep talk. They made a lively pace throughout, notably the cellos in the andante con moto, along with the cleverest, anticipatory build up to the final Allegro. Clearly a game of two halves, I was happy to leave the concert hall with a spring in my step and wish them bon voyage on their long flight to Orlando
Reviewer: Charles Stokes (Seen 10 March)
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