BY DYLAN HENDERSON
Elegant Tchaikovsky
Adelaide Symphony Orchestra
Adelaide Town Hall, 29 April
The third concert in the Adelaide Symphony Orchestra’s Masters Series for 2016 saw former Chief Conductor Arvo Volmer return to the podium to present a balanced program of Sibelius, Tchaikovsky, and Nielsen.
The ASO was in fine form throughout the evening, beginning with Sibelius’ last great work for orchestra, the 18-minute tone poem Tapiola, Op. 112. Having recorded the complete symphonies of Sibelius with the ASO for ABC Classics, Volmer brought formidable authority to this evocative tour de force, conjuring images of elves and spirits from Nordic mythology amid the impenetrably dark pine forests that surrounded the composer’s home. A remarkable diversity of colours and textures informed this account: each phrase felt measured and precise, and there was none of the insecurity that characterises an under-rehearsed orchestra. Regrettably, the shimmering conclusion was marred by that most pesky of intrusions from the audience: the irritating marimba riff of an iPhone ringtone. This was deeply frustrating, interrupting the translation of an otherwise totally immersive experience.
The young Armenian cellist Narek Hakhnazaryan was captivating from the moment he stepped on stage. After winning the Gold Medal at the 2011 XIV International Tchaikovsky Competition, it was especially pleasing to hear this 27-year-old perform Tchaikovsky’s Variations on a Rococo Theme, Op. 33. But before embarking on the Variations, Hakhnazaryan offered an exceptional performance of the Nocturne for Cello and Small Orchestra, an arrangement of the fourth work of a collection of piano miniatures, Six Morceaux, Op. 19.
The Variations on a Rococo Theme began a little tentatively in the orchestra in the Introduction, but quickly regained control thanks to an impressive horn section that never split a note throughout. After introducing the theme, a wonderfully conversational dialogue ensued with the soloist and orchestra, most evident in the second variation. Throughout, Hakhnazaryan glided with seemingly effortless grace throughout the many challenging virtuosic flourishes, never once appearing in danger of loosing control despite the beads of sweat that dripped off his face onto his cello. An almost impeccable balance was maintained from the orchestra in every variation. Inherent in Hakhnazaryan’s sound was that rarefied, enveloping tone bequeathed from the great Russian tradition: Hakhnazaryan was fortunate enough to be mentored by Mstislav Rostropovich, in the last years of Rostropovich’s life. Rostropovich was one the great interpreters of the Rococo variations – perhaps the greatest – and this influence assumed a new sense of vitality in Hakhnazaryan’s performance.
If this wasn’t enough, Hakhnazaryan proved there was little he couldn’t do as he performed an encore that is quickly becoming synonymous with his name. Despite Italian origins, Giovanni Sollima’s Lamentatio was the perfect showcase for Hakhnazaryan’s talent, combining scintillating virtuosity with the vulnerability of a deeper, spiritual purpose. Singing and playing simultaneously, Hakhnazaryan imbued the work with a fervent sense of mourning and pathos, and it was abundantly clear this was his lament for the Armenian Genocide. But out of the struggle of the work’s immense technical challenges came a celebration of life and resilience, a sense of optimism that pervaded the second half of the concert.
Indeed, it was the perfect introduction to the last work on the program, Nielsen’s Symphony No. 4, Op. 29, suitably subtitled Inextinguishable – yet another celebration of human resistance and the capacity to overcome the calamities of the Great War. This was another powerhouse performance from the ASO: the brass section was particularly fine, and Volmer coaxed a colossal crescendo in the exultant conclusion. But despite this magnificent performance, the night belonged to Hakhnazaryan.
Image supplied.
