Janácek, Rachmaninov and Rimsky-Korsakov at the Southbank, 16.05.08

London Philharmonic Orchestra

Kirill Petrenko, conductor

Dejan Lazic, piano

Janácek Sinfonietta

Rachmaninov Piano Concerto 2 in C minor

Rimsky-Korsakov Scheherazade

I had been waiting to hear the Janácek sinfonietta ever since I read the miraculous score when I was studying music A level, but I never quite got around to actually hearing it. It was a wonderful experience to hear those rhythms and melodies had stayed with me all those years, and it was an enjoyable performance. An almost intimidating row of twelve brass players were lined up in the choir behind the orchestra causing a lady behind me to remark "It'll be a good thing to be all the way back here with all that noise going on". Indeed, the opening fanfare is very arresting, but it isn't just a lot of loud brass music. The timbres of the different instruments came out strongly, and there was confident playing the orchestral brass in later movements. Petrenko was proving to be one of those very energetic conductors, juming and twisting one moment, appearing fluid and relaxed the next, then conducting with snapping robotic movements just to prove he can dance in any style he likes. The players seemed to be getting the message, as they followed him quite well, but I think that there was maybe a bit more bravura than control.

Janácek ****

Most of the audience had come for the Rachmaninov, and with a Friday-night, popular audience, there was always going to be wild applause, however good or bad the performance. Unfortunately, I couldn't join in the applause too much this time. It was a really soulless performance. The opening bell-like chords were promising, with Lazic waving his arms with great flair, and, crucially, gaining the kind of volume necessary when playing a Rachmaninov concerto. But there were some fudged chrods just before the orchestra joined him, and it set the tone for the performance: brave, outgoing, but quite rough at the edges. Though mostly technically accurate, Lazic seemed to play at only two dynamics; fortissimo or mezzo forte. This may have been because the orchestra were playing in a similarly brash manner, quite unlike their handling of the Janácek. There wasn't a lot of communication between soloist and orchestra, and though the start and ending of each movement seemed to fall more or less in place, there was never really a lot of coordination in between.

The tempo in the second movement was a little fast for my liking, and the woodwind passed their opening theme between each other with less than pinpoint accurate intonation. The movement seemed to go by inconsequentially; and like all the movements in the entire programme they followed without a break, leaving no time for repose.

The third movement benefitted from Lazic's confident style, especially the ending, which seemed to bring the orchestra alive.

Rachmaninov: **

Scheherezade was a much better affair than the Rachmaninov, but not as good as the Janácek.

Scheherezade ***