<Translated from French automatically>
RAI National Symphony Orchestra, Alexander Vedernikov. Monaco, Rainier III Auditorium, April 4.
It takes a certain amount of nerve to propose a program entirely devoted to Scriabin. Not entirely, however, since as an appetizer to this concert presented as part of the Printemps des Arts de Monte-Carlo, the poet Charles Pennequin treats us to an extravagant soliloquy, followed by a premiere by Bruno Mantovani for saxophone, cello, and piano, titled L'Œuf (The Egg). Three insignificant minutes, valiantly "growled" out by Carmen Lefrançois, Askar Ishangaliyev, and Nathanaël Gouin.
After the Rêverie, which ends just as one has barely realized it had begun, Scriabin's Piano Concerto proves to be of much greater weight. Overlooking a somewhat tinny instrument, Alexei Volodin approaches it from an unexpected angle—robust and committed. The work loses in charm what it gains in virtuosity. Defended in this manner, these pages, still under the yoke of the composer's "Chopin period," become showpieces capable of making a strong impression.
Alexander Vedernikov, at the helm of a fine RAI orchestra (National Symphony Orchestra of the Italian Radio), does not hold back in the expansive Symphony No. 3 "Divine Poem," highlighting the epic and passionate character of a fresco agitated by struggles and upheavals through his broad gestures. His concern for the slightest inflection and his sense of balance between the different sections (the brass leaving a role of primary importance to the strings) proved insufficient to avoid a few "tunnels" (lulls) in the score. However, they lend his reading a great deal of relief, particularly in a most inspired "Divine Play" section.
Source.
RAI National Symphony Orchestra, Alexander Vedernikov. Monaco, Rainier III Auditorium, April 4.
It takes a certain amount of nerve to propose a program entirely devoted to Scriabin. Not entirely, however, since as an appetizer to this concert presented as part of the Printemps des Arts de Monte-Carlo, the poet Charles Pennequin treats us to an extravagant soliloquy, followed by a premiere by Bruno Mantovani for saxophone, cello, and piano, titled L'Œuf (The Egg). Three insignificant minutes, valiantly "growled" out by Carmen Lefrançois, Askar Ishangaliyev, and Nathanaël Gouin.
After the Rêverie, which ends just as one has barely realized it had begun, Scriabin's Piano Concerto proves to be of much greater weight. Overlooking a somewhat tinny instrument, Alexei Volodin approaches it from an unexpected angle—robust and committed. The work loses in charm what it gains in virtuosity. Defended in this manner, these pages, still under the yoke of the composer's "Chopin period," become showpieces capable of making a strong impression.
Alexander Vedernikov, at the helm of a fine RAI orchestra (National Symphony Orchestra of the Italian Radio), does not hold back in the expansive Symphony No. 3 "Divine Poem," highlighting the epic and passionate character of a fresco agitated by struggles and upheavals through his broad gestures. His concern for the slightest inflection and his sense of balance between the different sections (the brass leaving a role of primary importance to the strings) proved insufficient to avoid a few "tunnels" (lulls) in the score. However, they lend his reading a great deal of relief, particularly in a most inspired "Divine Play" section.
Source.
Monte-Carlo Spring Arts Festival: Scriabin in the Spotlight
Bertrand BOISSARD, Diapason, April 7, 2014
