Originally posted by teamsaint
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Lighthouse Poole, January 28.
Kirill Karabits conduct the Bournemouth Symphony Orchestra in Berlioz's Le Corsaire Overture, Chopin's Piano Concerto No 2 featuring the pianist Yulianna Avdeeva, and Schumann's Symphony No 2.
Sharp eyed forumites will have spotted this in the Radio times, and no doubt thought it looked a tempting programme for a snowy January night. Weather was kind down here, so I went along, blissfully ignorant of the R3 scheduling...but I would have gone anyway....a live Schumann 2 is a big pull, wintry conditions or no.
THe Overture has been mentioned by the wise Edashtav, and lots of spirited fun it was. Just the sort of thing that can pass one by as disc filler, but live makes you wonder why, for instance, it doesn't get a more regular airing in places like " Breakfast".
On to the main course, and you can hardly go wrong trying to fill a concert hall with one of the Chopin Concertos. Avdeeva is physically a slight very figure indeed. Nothing really to dwell on here for too long. Sadly, from where I was, there was a very definite muddy quality to the piano sound, and some very indistinct passages. I think on reflection , this may have been something to do with the enigmatic acoustic at the hall, although at the time I put it down to over enthusiastic pedal work.Nontheless, it was fine, some lovely passages, but certainly not a performance to transform ones view of the work . For me, the final movement came off best, but occasionally I felt a little more power wouldn't have hurt.
A good reception from the reasonably well filled hall, a quick Waltz encore, and off she went,before reappearing,looking a little bashful, in the auditorium for the symphony.
And the symphony. Not much glory for the conductor, perhaps , in a top notch Chopin 2, but what about a classic Schumann 2? Now that is a prize worth fighting for.
From well before the first note, it was clear that KK was really going for it. From the carefully prepared direction into the first notes, KK micromanaged this like a man on a very serious mission. Every small crescendo and diminuendo, every phrase end, almost note by note he guided them....pity the front bench second violins who had nowhere to hide! Did the microphones pick up all those sharp intakes of breath, grunts, a jump? that was all KK, giving it everything,and they might have been off putting if you didn't know that this came from his extreme involvement.
And it isn't as if the work doesn't demand enough from the orchestra. The violins, their sound beautiful, rich and impeccable, have plenty to do, and KK worked them hard in that second movement, and got what he wanted.
A huge (quietly observed)dramatic pause before the start of the slow movement. Recovery, or building the tension? I guess it doesn't matter, the wait worked, and the music deserves it. The movement was played for beauty and elegance, rather than the kind of rough edged Pre Mahlerian angst ( can I say that?) that it can be given. Personally, I love edge in this, but Karabits took us to a place of pure and beautiful sound, the woodwind solos were perfection , and it was utterly compelling, More than one way to skin a rabbit, I suppose.
There is huge energy required for the finale after all that emotion, and just occasionally i found myself wondering if conductor and orchestra didn't have enough in reserve. Whatever, they kept enough for the barnstorming conclusion, a true 10 second goose bump job, a really thrilling end to a special performance.
Karabits took this really seriously, and though there may be even better to come, the orchestra gave him everything, and this time the acoustic seemed to work well.
IMO, this deserved a far better ovation than it got, which was no better than average applause.
The whole thing is repeated on Friday night in Portsmouth, and well worth a trip for those within hitting distance.
What was it like on the radio?
Kirill Karabits conduct the Bournemouth Symphony Orchestra in Berlioz's Le Corsaire Overture, Chopin's Piano Concerto No 2 featuring the pianist Yulianna Avdeeva, and Schumann's Symphony No 2.
Sharp eyed forumites will have spotted this in the Radio times, and no doubt thought it looked a tempting programme for a snowy January night. Weather was kind down here, so I went along, blissfully ignorant of the R3 scheduling...but I would have gone anyway....a live Schumann 2 is a big pull, wintry conditions or no.
THe Overture has been mentioned by the wise Edashtav, and lots of spirited fun it was. Just the sort of thing that can pass one by as disc filler, but live makes you wonder why, for instance, it doesn't get a more regular airing in places like " Breakfast".
On to the main course, and you can hardly go wrong trying to fill a concert hall with one of the Chopin Concertos. Avdeeva is physically a slight very figure indeed. Nothing really to dwell on here for too long. Sadly, from where I was, there was a very definite muddy quality to the piano sound, and some very indistinct passages. I think on reflection , this may have been something to do with the enigmatic acoustic at the hall, although at the time I put it down to over enthusiastic pedal work.Nontheless, it was fine, some lovely passages, but certainly not a performance to transform ones view of the work . For me, the final movement came off best, but occasionally I felt a little more power wouldn't have hurt.
A good reception from the reasonably well filled hall, a quick Waltz encore, and off she went,before reappearing,looking a little bashful, in the auditorium for the symphony.
And the symphony. Not much glory for the conductor, perhaps , in a top notch Chopin 2, but what about a classic Schumann 2? Now that is a prize worth fighting for.
From well before the first note, it was clear that KK was really going for it. From the carefully prepared direction into the first notes, KK micromanaged this like a man on a very serious mission. Every small crescendo and diminuendo, every phrase end, almost note by note he guided them....pity the front bench second violins who had nowhere to hide! Did the microphones pick up all those sharp intakes of breath, grunts, a jump? that was all KK, giving it everything,and they might have been off putting if you didn't know that this came from his extreme involvement.
And it isn't as if the work doesn't demand enough from the orchestra. The violins, their sound beautiful, rich and impeccable, have plenty to do, and KK worked them hard in that second movement, and got what he wanted.
A huge (quietly observed)dramatic pause before the start of the slow movement. Recovery, or building the tension? I guess it doesn't matter, the wait worked, and the music deserves it. The movement was played for beauty and elegance, rather than the kind of rough edged Pre Mahlerian angst ( can I say that?) that it can be given. Personally, I love edge in this, but Karabits took us to a place of pure and beautiful sound, the woodwind solos were perfection , and it was utterly compelling, More than one way to skin a rabbit, I suppose.
There is huge energy required for the finale after all that emotion, and just occasionally i found myself wondering if conductor and orchestra didn't have enough in reserve. Whatever, they kept enough for the barnstorming conclusion, a true 10 second goose bump job, a really thrilling end to a special performance.
Karabits took this really seriously, and though there may be even better to come, the orchestra gave him everything, and this time the acoustic seemed to work well.
IMO, this deserved a far better ovation than it got, which was no better than average applause.
The whole thing is repeated on Friday night in Portsmouth, and well worth a trip for those within hitting distance.
What was it like on the radio?
... but have today heard a similar glowing reaction from someone else who was there! Lucky you!
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