ZAKHAROVA AND BOLLE IN SWAN LAKE

I'm clocking off, so here is something to keep you busy for a bit: the complete Swan Lake, starring Svetlana Zakharova and Roberto Bolle. Stay tuned for exciting piano news when I'm back.

Musical miracle in the Congo

This, from the CBS News series 60 Minutes, is really fantastic. An ex-pilot in Kinshasa founded a symphony orchestra - starting from zero, with no musicians, instruments or teachers... I think Gareth Malone and the Military Wives have a little competition! (Sorry about the car ads...it's worth waiting for.) Thanks to Marshall Marcus for drawing attention to it.

Swiss snapshots

Here's my review for The Independent of two rather amazing concerts in the Lucerne Easter Festival. Plus some snaps. (And more soon...)

*****

LUCERNE EASTER FESTIVAL: Cappella Andrea Barca/András Schiff, 29 March 2012; Bavarian Radio Symphony Orchestra/Mariss Jansons, 30 March 2012

Outside Lucerne’s lakeside concert hall, the KKL, a boat ride offers itself as the “Whisky Schiff”. Inside the auditorium, though, stood another Schiff: András, in maestro mode. With his hand-picked chamber orchestra, the Cappella Andrea Barca, plus the Balthasar Neumann Choir and a fine complement of soloists, he presided over a rare Bach treat for the Lucerne Easter Festival: the B minor Mass, the composer’s last choral masterpiece, never heard as often as it deserves compared to the ubiquitous St Matthew Passion. 

Schiff, one of today’s pre-eminent Bachians, encouraged his colleagues through a heart-warming celebration of the Mass’s multi-faceted spiritual world: the infectious dance rhythms, the exultant grandeur of the Sanctus, the almost graphically word-painted Crucifixus, and a subtle, sober Agnus Dei from mezzo-soprano Britta Schwarz which turned the music inward towards its reflective close. At two hours without a break, despite spry tempi, it still seemed over too soon.

The next evening the Bavarian Radio Symphony Orchestra packed an extravagant number of players on to the platform, and their quality of sound – with galvanising seriousness of purpose from their conductor, Mariss Jansons – hit clean between the eyebrows. This was the orchestral equivalent of the Munich Oktoberfest, larger than life and almost scarily well organised.

The 26-year-old Norwegian rising star Vilde Frang was soloist for Bartók’s Violin Concerto No.1, a bittersweet work that the composer produced as a love gift for the violinist Stefi Geyer (she reciprocated affection for neither him nor the piece and never played it). Frang offered a suitably intimate interpretation, displaying a fresh and intuitive sense of timing, besides evident intelligence, wit and grace. She has won this year’s Credit Suisse Award, which gives her a concert in the summer Lucerne Festival with the Vienna Philharmonic. We’ll hear much more of her.

Jansons’s account of Beethoven’s Overture Leonora No.3 was a transfixing paen to liberty. And what a luxury it was to hear Brahms’s Fourth Symphony played with 18 first violins, ensemble exceeding the merely exemplary, and section principals worthy of concerto status – flautist Philippe Boucly delivered a profoundly moving solo in the passacaglia. The symphony became an all-out monument to Brahms’s tragic view of life. Jansons embraced the full measure of it, body and soul.

Vengerov rides again

(Above: Maxim Vengerov plays and talks on BBC Radio 3's In Tune the day before his Wigmore comeback concert...don't miss it, even if you missed the concert.)

Being Maxim Vengerov at the Wigmore Hall the other night must have been rather like being Barack Obama winning the US election. The weight of expectation had to be all but inhuman. Vengerov's comeback concert - to which his appearance as stand-in for Martha Argerich  two weeks ago was an unexpected warm-up - couldn't have announced more clearly that the violinist means business. It is some six years since an injury grounded him. Since then, he's discovered life beyond four strings and a bow, from conducting to dancing the tango. He's taken up a new post as Menuhin Professor at the Royal Academy of Music and he has recently married Olga, sister of the violinist Ilya Gringolts. The couple now have a baby daughter.

It's a long way from prime prodigy to professor and proud papa; and even if Vengerov didn't exactly need to grow up - we'll never forget his magnificent performances in his teens and twenties - then he has certainly matured. The showmanship has by no means vanished, as his encores, Brahms's Hungarian Dance No.1 and the Wieniawski Scherzo Tarantelle, proved (so why did the dear old Wigmore audience get up and start going? I reckon he'd have been ready to keep playing for a good while longer...). But the bulk of the recital was weighty fiddle fare: the Bach D minor Partita, the Handel D major Sonata and Beethoven's 'Kreutzer' Sonata, which Vengerov is privileged to play on the 'Kreutzer' Stradivarius. Kreutzer himself never played that sonata; that was his loss.

Vengerov switched bows for the second half. Not that it was possible to see, from the murky depths of the Wigmore Critics' Cattery, the precise nature of the bow he used for the Bach and Handel - it seemed pointier, and the sound it produced was more forced and less lovely. With the D minor Partita, though, Vengerov reclaimed the stage on which he first stormed London. From long, stark note number one, delivered with head raised and turned away from the instrument, the space was his, the sound all his own; the music unfolded like a water garden uncurling its wonders from within. The Chaconne was as muscular and idealised as a Michelangelo sculpture.

Joined by his regular duo partner, Itamar Golan, Vengerov created a different soundworld for the Handel: this was genial music-making for friends, in contrast to the inward soliloquies on which we seem to eavesdrop in solo Bach. Delicious with piano accompaniment, drawn with soft and deft strokes, tastefully decorated, it conjured a sepia-toned environment that didn't project outwards so much as invite us all in.

But it was the Beethoven that stole the show. Vengerov and Golan never played safe, working at tempi on the edge of the possible in that crazy first movement development, with dynamics that blazed, and electricity that flared, flickered and illuminated by turns. Uniting a composer's inner ethos with the nature of the physical sound has become something of an under-rated art, but that's what they did: the eloquent richness of Vengerov's tone and its soaring conviction was Beethoven, with all his idealism and defiance alive and well. That's the mysticism of which music and its finest exponents are capable. And as an address from a newly returned president in a musical White House, it couldn't have been more inspiring.

The concert was recorded for BBC Radio 3 and I think it is going out on 29 April. Also projected for the Wigmore Live record label.

Bravo, Maxim! It's good to have you back.

Newsround: The Long Road to Parsifal

My Internet is back, so very quickly, before it vanishes again, here's a little newsround.

BATONFLIPPER'S BIG BREAK

Don't miss this blog by conductor Michael Seal, who tweets as @batonflipper, about how Andris Nelsons dropped out of the CBSO tour and he had to step in at an astounding 20 minutes' notice. There followed a massive programme with Jonas Kaufmann singing the Kindertotenlieder. By all accounts Michael did magnificently. Is this his big break? Let's hope so. Interesting, too, to hear about how Der Jonas responded when a member of the audience shouted at him after his first song to step forward because they couldn't see him...

THE RETURN OF MAXIM VENGEROV

He's been around, but not playing the violin: an injury has kept him away from the fiddle on a sort of enforced sabbatical. But now he's back at last. Maxim Vengerov is on In Tune on BBC Radio 3 today, playing and talking, sometime after 4.30pm. Tomorrow he'll be giving his first Wigmore Hall recital for around 20 years, with Itamar Golan at the piano. I was at that last one, and I will never, ever forget it. He was 14 and there, on stage, was a spotty schoolboy playing for all the world like Jascha Heifetz. I am sure everything will be different now - have the intervening decades mellowed him, or will he be that same virtuoso daredevil? It's a comparatively restrained programme: Handel, Bach and Beethoven - but of course music doesn't get any greater than the Bach D minor Partita and the Beethoven 'Kreutzer'. Go, Maxim, go!

WHERE'S TOMCAT?

He's here:

That, in case you wondered, is a view from the pit at the Bavarian State Opera, Munich, where our Tomcat is currently working, having taken extra time away from London. His own enforced sabbatical (rather different from Vengerov's) has done him the power of good - and the particular ironic trajectory by which this Buxton-raised son of German-Jewish refugees from Berlin fetches up in Munich, playing Wagner's Parsifal at Easter, is something that you couldn't make up. The orchestra is fabulous, he says, with no weak links; it functions with plenty of space, great facilities, grown-up attitudes and, not least, crack football teams for both sexes. Right now he's being shown the town by Wilhelm Furtwangler's great-grandson, who happened to be sitting next to him on the plane.