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Jánaček, Rachmaninov and Rimsky Korsakov: Dejan Lazic (piano), Boris Garlitsky (violin), London Philharmonic Orchestra, Kirill Petrenko, Royal Festival Hall, London, 16.5.2008 (BBr)

Leoš Jánaček:  Sinfonietta (1926)
Sergei Rachmannov: Piano Concerto No.2 in C minor, op.18 (1901)
Nikolai Rimsky-Korsakov: Symphonic Suite: Scheherazade (1888)


With thirteen extra brass players standing behind the orchestra, to play the fanfares in Jánaček’s Sinfonietta, the show got off not only to a resounding start but it looked exciting as well! Like so much late Jánaček, the Sinfonietta is phantasmagorical, the five movements progressing in an almost stream of consciousness state, with seemingly unrelated elements juxtaposed and making perfect, and logical, musical sense. No movement corresponds to either a fast or a slow movement, the material simply evolves in an ever changing range of moods and sonorities. Petrenko was in total control of this kaleidoscope of a piece and handled each change with ease. The orchestra followed him without question and gave a performance of distinction. The final peroration, where the opening fanfares return and join with the full orchestra, made a glorious and thrilling sound, filling the hall and bringing Jánaček’s masterpiece to a jubilant and brilliant conclusion.

We needed the short time it took to set the stage for the Concerto to compose ourselves for the next item. Dejan Lazic played the opening chords of Rachmaninov’s famous Concerto with perfect, even, balance, making a gradual crescendo and ushering in the orchestra for the first theme, and there lay the problem – the moment the orchestra entered the piano disappeared. I could see Lazic’s hands rushing round the keyboard but I could hardly hear him. I wondered if it was me but on questioning some of the audience after the performance it seemed that many simply couldn’t hear him – even in the martial climax to the first movement, there he was, playing for all he was worth but almost inaudible. The slow movement fared better, Lazic’s gentle arabesques which accompany the solo flute at the opening, with the most sensuous playing from Karen Jones, were perfectly placed (I started wondering about how Lazic played chamber music) and were just as gorgeous towards the end where he accompanied muted strings in the same music, but the balance problems were in evidence in the louder music. I am sorry to have to report that I have little recollection of the finale save to say that the orchestra played well and the piano went almost unnoticed.

Thankfully some members of the audience obviously heard him play and in gratitude for their ovation Lazic delighted us with a quicksilver performance of a Scarlatti Sonata in C.

Rimsky-Korsakov’s Scheherazade is such a fun piece. Petrenko, what a fine conductor he is, directed a dynamic performance of this old friend with marvelous playing from the orchestra’s leader, Boris Garlitsky, in the guise of the eponymous heroine, beautifully supported by the harp of Rachel Masters. The salty tang of the sea filled the music of the first movement, whirling dervishes rushed across the stage in the second; I could see them, so vivid was Petrenko’s vision of the music. The love music for the young Prince and the Princess was meltingly beautiful, here Petrenko coaxed some ecstatic playing from the strings, and the final festival was thrilling in its exuberance, culminating in a broad view of the shipwreck and a gentle happy ever after ending.

What a performance! As it has been for most of this season, the London Philharmonic was on the top of its form, every section of the orchestra excelled, the wind band, which has especially impressed me all year, was magnificent, the heavy brass sounded full and resplendent as it should, the strings shimmered and glowed, the percussion was colourful and, if anything, a little too discreet! Am I going over the top? Of course I am and the band deserves every word. I can hardly wait until Mr Petrenko returns to the orchestra.

Bob Briggs


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