Christmas is coming and two masterpieces from Romantic Russia shared the limelight as seasonal gifts, not only to the Lighthouse audience but also far beyond with the orchestra’s global digital reach via BSOLive in celebration of its 100th streaming presentation post-Covid.
Boris Giltburg’s performances and recordings of Rachmaninov have already assumed iconic status. This live experience of the notoriously demanding 3rd Piano Concerto hit the heights with super-collaborative musicianship. Contrasts of tempo and temperament were beautifully judged without any grandstanding. Deference between soloist and orchestra brought maximum sensitivity and spontaneity with the big guns delivered with jaw-dropping virtuosity and fire-power when required. With both needle-sharp and fluid articulation, this was a meeting of minds that teetered dangerously on the edge to deliver an ideal balance of idiomatic substance and yes – subtlety.
Pianist Boris Giltburg (C) Sasha Gusov
More breathtaking pianism followed with an encore of Rachmaninov’s transcription of Fritz Kreisler’s Liebesleid – love’s sorrow delivered with yet more virtuosic teasing suggesting that the sadness might be somewhat short-lived.
After Boris Giltburg’s final charge for home in the concerto, Martin Handley, who also presented the very first BSOLive digital concert in 2020, asked “How does he do it?”. One answer is to engage with the orchestra’s amazing enterprise and watch to your heart’s content, either live or via the digital library. Here you will discover a wealth of superbly prepared productions from the BSOLive digital team. The combination of sound and vision as well as informed commentary on the music open up a new realm of musical insight and appreciation that establishes the medium on a new level of excellence. Savour close-ups of the pianist’s dazzling finger-work, watch the eye-contact and expressive features of soloists, conductors and orchestral musicians close-up or in ensemble – unique revelations await.
With The Nutcracker back on duty after the interval, the Christmas cake came prepared for some delicious orchestral icing. Especially tasty as an enhancement of context and continuity, it was a smart decision to be treated to the complete Act Two from the ballet, rather than just the more frequently programmed Suite. As Master of Ceremonies for the party, Chief Conductor Mark Wigglesworth cast a scintillating fairy-tale spell over the proceedings.
Revelling in some of Tchaikovsky’s most inspired orchestration, the orchestra responded with a whole range of characterful virtuosity and nuance both in solos and instrumental groups. Conscious of the dance throughout, the peak of the work in the Grand Pas-de-Deux was delivered with overwhelming power and élan. Has a repeated downward scale ever carried more ecstatic emotion than Tchaikovsky conjures for this spectacular climax in the ballet? Glorious playing throughout with everyone on stage and in the auditorium clearly relishing every number. Happy Christmas BSO and “Keep Dancing!”
Ian Julier
We also recieved a review from ArtsDesk : “Wigglesworth injected extra drive and thrust, the true excitement of live performance, into the extended final cavalcade.”
If you missed the concert, you can catch up here until 4 January.