Vladimir Jurowski (credit Roman Gontcharov)
|
The works in this dramatic Prom were linked by the sound of bells,
whether explicitly in Rachmaninov's choral symphony, in Shakespeare's
'surly sullen bell' as realised by Mark-Anthony Turnage, or in the peal
that rang out from Nikolai Lugansky's piano in the climax to the
dazzling cadenza of Prokofiev’s second piano concerto. Few sounds are more thrilling at the Albert Hall than a large chorus in
full voice, and the banks of the assembled choruses, numbering more than
two hundred, delivered an impressive wall of sound when required.Their
Rachmaninov performance (of The Bells) was truly gripping, in particular their depiction
of the 'raging fire' in Alarum Bells, the effect of conductor
Vladimir Jurowski's sudden cut off at the end akin to a door
slamming shut.
The audience held their breath (at last!) for the elegiac cor anglais
solo with which the 'Mournful Iron Bells' began, the hollow triumph at the
close beautifully realised by conductor and orchestra, with organ easily
accommodated in the texture.
The three soloists were magnificent, in particular baritone Sergei
Leiferkus, his accent more obviously pronounced than that of the
chorus, while Tatiana Monogarova's soprano floated easily above the
orchestra. Vsevolod Grivnov's tenor was fully idiomatic, if a touch
overwhelmed by the chorus.
Mark-Anthony Turnage made eerie use of muted hand bells in A Relic of Memory, his
atmospheric fusion of Shakespeare's Sonnet 71 and Mass excerpts. This
allowed him the clever insertion of an older composition, Calmo,
almost in its entirety. Written in memory of Oliver Knussen's wife,
the passage was remarkably still as the large forces were suddenly scaled
down to just chorus and softly tolling bells. In parts Turnage's rare foray
into choral music was reminiscent of Stravinsky's Symphony of
Psalms, as well as containing hints of Copland and Britten, but in no
way was it derivative. Though taxing the sopranos somewhat it nonetheless
received a powerful performance.
Completing this heady trio was Prokofiev’s large-scale Second Piano Concerto, with
the agile soloist Lugansky bearing more than a passing resemblance to the
programme’s picture of the dapper young composer. The second is unashamedly
a work of bravura, yet it leaves ample opportunity for lyrical expression,
which the orchestra found in the enchanting opening.
Lugansky was technically superb and was in complete control of the build
up to the cadenza’s explosion, where the re-entry of the brass had a real
tingle factor. The heavy tread of the Intermezzo, meanwhile,
dissipated into the brilliance of the finale, Jurowski alive to the
obviously Russian second theme.
Jurowski was happy to give credit to others - Turnage, the chorus
masters, Lugansky - but was himself deserving of a rousing reception. His
full-time tenure with the LPO begins in earnest next year, and should be
watched very closely.
Comments
| 
