At the console was Alexander Vedernikov, the orchestra's chief conductor since 2001, who is known not only in Europe. He has impressive, rounded movements that he can shorten with short flicks of his wrists. However, he works much more harmoniously than Valery Gergiev, who recently stood in this place with the musicians of the Mariinsky Theater. And in fact, the Bolshoi musicians play with a fuller, warmer and more elastic sound than the rough St. Petersburg orchestra. Although both make an impression.
This could be felt in the fantasy overture "Romeo and Juliet" by Tchaikovsky. In the large-scale and carefully calibrated representation of the Bolshoi, among all the dramatic chords (and theatrical roots), there was a mandatory singability, but without exhibitionism. In Mussorgsky's "Pictures from the Exhibition", Ravel's orchestration revealed an artistic approach to musical colors right up to the very finale: the rich gloss of the strings, the richness of details in the poetic elegance of the "Old Castle", the complexities of the "Cattle", the frivolity of the chicken ballet. Each part made you feel like you hadn't heard it in such a colorful performance in a long time.
Between these works, Rachmaninoff's First Piano Concerto was performed, which unfairly ranks not in the first place in the world repertoire. Of course, it is not as convenient for performers as later concerts with their large format. In this regard, the soloist Gerhard Opitz, who could never be suspected of virtuoso intoxication, was a godsend for the performance of this concert. He played sternly, without rubato, with an unflappable ease. At the same time, he stopped any attempts to play with pathos. It's a good interpretation, well supported by the orchestra and the conductor. In the final, a great success.
Source.
This could be felt in the fantasy overture "Romeo and Juliet" by Tchaikovsky. In the large-scale and carefully calibrated representation of the Bolshoi, among all the dramatic chords (and theatrical roots), there was a mandatory singability, but without exhibitionism. In Mussorgsky's "Pictures from the Exhibition", Ravel's orchestration revealed an artistic approach to musical colors right up to the very finale: the rich gloss of the strings, the richness of details in the poetic elegance of the "Old Castle", the complexities of the "Cattle", the frivolity of the chicken ballet. Each part made you feel like you hadn't heard it in such a colorful performance in a long time.
Between these works, Rachmaninoff's First Piano Concerto was performed, which unfairly ranks not in the first place in the world repertoire. Of course, it is not as convenient for performers as later concerts with their large format. In this regard, the soloist Gerhard Opitz, who could never be suspected of virtuoso intoxication, was a godsend for the performance of this concert. He played sternly, without rubato, with an unflappable ease. At the same time, he stopped any attempts to play with pathos. It's a good interpretation, well supported by the orchestra and the conductor. In the final, a great success.
Source.
The paintings glow with warm colors.
The Bolshoi Theatre Orchestra performed at the Alte Oper Frankfurt
The Bolshoi Theatre Orchestra performed at the Alte Oper Frankfurt
Frankfurter Neue Presse, February 15, 2007
