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The evening opened with a delightful oddity: three selections from the four-movement Suite extracted by Andrew Cornall from Shostakovich’s operetta, Moscow, Cheryomushki, a satirical commentary on chronic housing shortages in the Soviet capital of the 1950s. Rouvali’s exuberant rendition conveyed all the sardonic bite and lighthearted charm in the selections – dance music, jazz-tinged pieces and popular songs, including the high-spirited ‘A Spin through Moscow’, a hurtling limo ride through city streets, and the exquisitely romantic ‘Waltz’, rendered with enthusiasm and panache.
Just two weeks after his widely praised Ravel recital at Carnegie Hall, Seong-Jin Cho delivered a dazzling interpretation of Prokofiev’s fiendishly difficult Second Piano Concerto. Deftly navigating the emotional arc of the piece, he executed its complexities with apparent abandon, as the music alternated between intense, lyrical moments and powerful, explosive passages. The boldly dramatic first movement with its massive cadenza led into an astoundingly fluid rendering of the mischievous, perpetually in motion Scherzo. He then ramped up the intensity in the alternately comic and menacing Intermezzo, while the Philharmonic’s low brass added to the ominous feel. The excitement reached its apex in the rhythmically intricate Finale, wrapping up an awe-inspiring account, supported throughout with manifest enthusiasm from Rouvali and the orchestra. Cho offered a highly contrasting encore: Ravel’s wistful waltz, A la Manière de Borodine.
One of Shostakovich’s final compositions, his ambiguous Symphony No.15, with quotations from Rossini and Wagner, was disappointing. Unfortunately, Rouvali failed to totally capture many of the music’s delicate shifts in mood, so that the readinglacked the requisite tension and sense of resignation. Technically the treatment was admirable, with precise playing from the ensemble and many impressive solo contributions – especially Matthew Christakos’s mournful cello in the second movement, and concertmaster Frank Huang’s playful fiddling in the third. Overall, however, this was a less than totally compelling performance of this enigmatic work.
https://www.colinscolumn.com/seong-jin-cho-plays-ravel-the-complete-solo-piano-works-live-from-carnegie-hall-on-stage/
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