BY MIRANDA ILCHEF
Ashkenazy’s Romeo and Juliet
Sydney Symphony Orchestra with Vladimir Ashkenazy (conductor) and Arabella Steinbacher (violin)
Sydney Opera House, 22 September
What’d you miss?
- A legendary program and a charismatic conductor
- An introspective rendition of a classic concerto
- Teen angst
The Sydney Opera House Concert Hall was filled with an eager audience ready to hear Ashkenazy’s Romeo and Juliet. I was looking forward to a legendary program and the chance to see the famed and charismatic conductor do his thing.
Vladimir Ashkenazy certainly wasted no time cutting to the chase: his feet were barely on the podium before a downbeat launched the Sydney Symphony Orchestra into Tchaikovsky’s heartfelt Romeo and Juliet Fantasy Overture. What started as a delicate opening built to a heartier second half in which the orchestra captured the teen angst of the timeless tale. The musical conflict between the brass and the strings seemed to be a metaphor for the ancient grudge between Montagues and the Capulets, and the synchrony of the strings’ bows meant every musician was communicating clearly with one another. It was an overture to what would prove a powerful evening.
Next up was the famous Bruch Violin Concerto No. 1, a heart-wrenching classic full of emotional turmoil befitting the rest of the program. Arabella Steinbacher exampled with deceptive ease a crystal-bright tone and flawless intonation. It was an introspective rendition of the classic concerto: at times, Steinbacher seemed almost oblivious to the presence of the audience and linked only to the orchestra through a very responsive Ashkenazy. This was surprisingly refreshing. Given that concertos are often merely a vessel for virtuosity and showmanship, Steinbacher reminded me that musicality and a personal connection to the music should always reign supreme. However, at times, it seemed that the orchestra neglected to respond to her meditative execution of the piece and slightly overpowered Steinbacher.
In the second half, we were treated to highlights from the theatrical Romeo and Juliet suite by Prokofiev which was, for me, a very moving highlight of the evening. From the tense arpeggios of the iconic Montagues and Capulets through the discordant funeral march of the incredibly distraught Death of Tybalt, and finally to the tragically poignant and reflective Death of Juliet, the orchestra showed obvious enthusiasm. And they were not alone: the audience responded with emphatic applause at the conclusion.
It had been a drama-fuelled evening in celebration of Shakespeare’s iconic romance that has shaped our art and culture for centuries.
Image supplied. Credit: Daniela Testa.
