Switzerland Brahms, Rachmaninov: Emanuel Ax (piano), Deutsches Symphonie-Orchester Berlin / Robin Ticciati (conductor). Tonhalle, Zurich, 24.10.2022. (JR)
Brahms – Piano Concerto No.1, Op.15
Rachmaninov – Symphony No.3, Op.44
There’s an abundance of orchestras in Berlin. After all, towering over all of them is the orchestra I would like hardly point out, the Berlin Philharmonic. The Deutsches Symphonie-Orchester Berlin (recognized earlier than 1993 because the RIAS-Symphonie Orchester) is certainly one of two main radio orchestras in Berlin (the opposite is the Rundfunk Symphonie-Orchester); the Deutsches Symphonie–Orchester’s ordinary live performance venue is the Philharmonie in Berlin. Beneath its first principal conductor, Ferenc Fricsay, it made radio historical past; later Lorin Maazel, Riccardo Chailly and Vladimir Ashkenazy have been on the helm of the orchestra. Younger British conductor Robin Ticciati has been their Principal Conductor for the final 5 years and the partnership is clearly bearing fruit.
On tour in central Europe, the orchestra offered a basic programme, a Brahms piano concerto and a Romantic symphony.
Emanuel Ax, now in his seventies, remains to be going robust. He is among the few remaining venerable males of the keyboard. His presence is amiable; he comes nonchalantly onto the stage, an outdated hand, and spends more often than not when not enjoying beaming on the woodwind: there is no such thing as a flamboyance and no histrionics. And his efficiency is rather like that: strait-laced, highly effective when wanted, no sweat. All the pieces flows naturally, every phrase is delivered with a long time of thought and expertise; he watches the conductor in fact to maintain in step. Lengthy could he proceed. The viewers lapped him up, the orchestra have been pure accompaniment. Nonetheless, Ticciati made his presence felt, from the turbulent however somewhat sluggish opening (first-rate horn enjoying) of the primary motion, sleek introduction to the sluggish motion, and a driving vigour within the Berlin Philharmonic, however they’d clearly rehearsed lengthy and laborious, and so they blended to perfection. It was, merely, an ideal efficiency of an incredible work.
I want I might say that Rachmaninov’s Third Symphony was an incredible work, however I can not. Following the vitality of the First Symphony, and the very talked-about Second, the Third comes over as fragmentary and fewer than satisfying. Nevertheless, full marks for bringing this symphony to the live performance stage, it does enhance with re-hearing. Too typically, its romantic (slushy) passages conjure up Hollywood; Ticciati did current a cogent argument for the work’s stronger elements, and the joyous ending ensured a really heat reception. The orchestra shone in all departments, the younger Chief displaying notably beautiful tone.
Ticciati clearly has developed a wonderful rapport together with his orchestra and I think Berlin can be a stepping-stone in his profession.
This live performance opened the collection of worldwide live shows in Switzerland sponsored by Migros Kulturprozent Classics. Subsequent up in Zurich are the Concertgebouw beneath Daniel Harding (November fifteenth), the Baltic Sea Philharmonic beneath Kristjan Järvi (December), the Budapest Competition Orchestra with Iván Fischer (January), Les Arts Florissants and William Christie (March) and the Freiburg Baroque Orchestra beneath Kristian Bezuidenhout (Might). Additional particulars could be discovered right here.