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Prokofiev:Martha Argerich (piano) Royal Philharmonic Orchestra, Charles Dutoit (conductor) Royal Festival Hall, London, 27.4. 2009 (CC)


A touch over five years ago, Martha Argerich played the Prokofiev Third Concerto with the LPO under Emmanuel Krivine in this very hall. There, the sticking point was the orchestra and conductor. Here, with Dutoit at the helm, the impression was more integrated, the pre-interval standing ovation fully deserved on all sides.

Given their history, it is no surprise that Argerich and Dutoit sing from the same hymn-sheet (they were married for a short period). The orchestra was remarkable compliant to Dutoit’s demands, evincing a subtle elasticity in the more lyric sections (the ascent that rounds off the initial clarinet solo was perfectly managed). Argerich was on top form. Her fingerwork in the first movement glistened, and yet she was capable of the most whispered and perfectly projected pianissimos.

The central movement, a set of variations, included the utmost beauty. Argerich brought a Bachian purity of voicing to her part. Here, just as much as in the staggeringly fast articulation of the outer movements, she was in complete control. The variations were clearly demarcated, their differences emphasised - foisted-on integration was clearly not part of the Argerich/Dutoit script. The finale, driven by a furious energy, included some gorgeously characterful playing from Argerich, whose touch was at times dry as a bone.

There were a couple of corners where integration between piano and orchestra was not all it could be, including a slightly lagging trumpet in the second movement, but such are the perils of live performance. After the Concerto, though, there was a treat: two exquisite encores, both Chopin Mazurkas (F minor, Op. 63/2 and C major, Op. 24/2).

The concerto was sandwiched between two slabs of stage-derived Prokofiev. First, the Symphonic Suite from The Love for Three Oranges, Prokofiev’s wonderfully surrealist opera. The RPO seemed remarkably fired-up (there was quite a feeling of  Argerich-fuelled anticipation in the hall at this point, which probably helped). The driving rhythms, the angular profiles of the material and the ultra-quick changes of direction of “The Ridiculous People”, the sharp-edged “Scene from Hades”, the bright March and playful Scherzo all seemed preparation for the beautiful, haunting love music of “The Prince and the Princess”, ravishingly played here (a special mention for the lovely viola solo from Andrew Williams). There was fire, too, in the final movement, “Flight”. This is superb music from a wonderful opera: interested readers who wish to explore further should try the Stéphane Denève performance on Opus Arte OA 0957 D, with a cast including Sandrine Piau and Sir Willard White (the orchestra is the Rotterdam Philharmonic).

The concert ended with a selection of six excerpts from Romeo and Juliet. The magnificently grinding discords of “Montagues and Capulets” could possibly have given rise to more glacial held string chords, but the main body of the movement was very well done. The first and second flutes of the RPO deserve mention for their contribution to “Juliet as a Young Girl”. Dutoit characterised the Minuet as bright and stately and ensured the final “Romeo at Juliet’s Grave” was appropriately angst-laden. A pity the high writing taxed the strings in the “Balcony Scene”, but this remains a highly enjoyable performance.

Good to hear the RPO in such fine fettle. Memorable.

Colin Clarke


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