SEEN AND HEARD INTERNATIONAL

Ravel, Prokofiev, Tchaikovsky: Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (conductor). Guild Hall, Preston 7.12.2010 (MC)

Ravel: Mother Goose, Suite (1908/12)

Prokofiev: Cinderella, Suite No. 1, Op. 107 (1944)
Tchaikovsky: The Nutcracker, Act 2 (1891/92)


If a programme of predominantly Russian ballet music with a Russian conductor wasn’t enough to provide Slavic authenticity then the icy weather conditions outside the Preston Guild Hall provided that extra Russian-like winter chill. Vasily Petrenko and the Liverpool Phil laid before the audience a heart-warming pre-Christmas feast of fairytale themed music from three ballet suites.

The concert opened with the suite from the toy-box ballet Mother Goose a score developed from the fairy-tales of Ravel’s childhood. A gloriously colourful affair, splendidly executed in which Petrenko achieved plenty of vitality as well as refinement. How those luscious strings glistened in the Sleeping Beauty’s Pavane and the orchestral playing of the concluding section the exquisite The Enchanted Garden was simply enthralling. A sunlit score Mother Goose provided abundant opportunities for the winsome woodwind to shine; they positively glowed with expression; especially the principal oboe with a tone to die for.

Petrenko chose to perform the first of the three suites taken from the ballet Cinderella, one of Prokofiev’s most admired scores. Although commissioned by the Kirov Ballet, Cinderella was actually premièred by the Bolshoi in 1944. A work with an enchanting melodic appeal on the surface Petrenko adroitly revealed the underlying sense of dark foreboding in the writing. Dynamics were judiciously controlled by Petrenko unravelling the complexities of the score with affection and integrity. Containing a distinct Russian feel I was struck by the captivatingly rich sonorities from the basses and cellos.

The Liverpool Phil’s score for the reminder of the evening was the second act from the ballet The Nutcracker itself an enchanting musical fairytale and an enduring Christmas time favourite. First performed at the Mariinsky Theatre in 1892 for many decades The Nutcracker lagged behind Swan Lake and The Sleeping Beauty in the popularity stakes. One of Tchaikovsky’s best loved compositions, today The Nutcracker is the most performed of all ballets.

With Petrenko’s tremendous interpretation of The Nutcracker I felt as if I was being transported to a magical wonderland of incredible adventures. Tchaikovsky’s captivating melodies shimmered with joyous life and intense passion. There was a fresh open air feel to the scene of the Kingdom of the Sweets. In the Divertissement: Chocolate (Spanish Dance) the short castanet infused romp just sparkled with life. Exotic and darkly sultry Coffee (Arabian Dance) was graciously affecting. The  mellow clarinet in its low registers and the short interchange between the oboe and cor anglais was heavenly. It’s hard to get away from the associations with the Cadbury’s Fruit and Nut chocolate commercial in the charming Dance of the Reed Pipes with the lustrous flutes and contrasting trumpet accompaniment. Right from the splendid harp introduction to the Waltz of the Flowers the playing from the Liverpool Phil was spectacular. Regarded as the high point of the ballet the Pas de deux with its magnificent melody on sumptuous strings had Petrenko increasing the orchestral weight to thrilling effect, especially the unleashing of the rip-roaring climax. Mesmerising was the unforgettable Dance of the Sugar-Plum Fairy with its singing theme given to the celeste and the inspired response of the fruity toned clarinet who was able to play so quietly. The concert came off brilliantly with Petrenko and the Liverpool Phil playing eminently joyous ballet music that will live in the memory for some time.

Michael Cookson
 

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