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Concert Reviews |
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 Index of Reviews |
City of Birmingham Symphony Orchestra/Vassily Sinaisky, Tuesday 25th January 2005, Symphony Hall, Birmingham The evening’s highlight was a thrilling performance of Mozart’s Clarinet Concerto in A Major by young virtuoso Julian Bliss, making his second visit to Birmingham. At the age of fifteen (and recently the subject of a documentary series about gifted children), Bliss already enjoys an international reputation as a soloist, and it is clear why. The concert began, though, with Rossini’s Overture to The Thieving Magpie. Some crisp woodwind playing here, as one always expects from the CBSO, and conductor Vassily Sinaisky was in appropriately playful mood. Although Rossini wrote this overture in the space of a day, it has endured and remains one of his most popular works. Mozart’s Clarinet Concerto is another work of immense popularity, and acknowledged by most clarinettists to be the greatest concerto for the instrument. It may not be the most virtuosic, but remains challenging: the economy of Mozart’s style means every note must be articulated with clarity. There is an irony in the work’s sunny temperament: it was written in 1791, shortly before the composer’s death. Bliss tackled the first movement with great energy, achieving a remarkable smoothness of tone, though there were times when the music could perhaps have benefited from a brighter sonority. The Adagio second movement (popularised by the film Out of Africa), can be dull when performed at its usual dirge-like tempo, but fortunately Bliss retained a youthful pace. This, coupled with a magical pianissimo at the recapitulation and sensitive accompaniment from a pared-down CBSO, brought the movement alive for me for the first time. I felt that the Rondo finale could have been sprightlier – Bliss seemed to take his playing very seriously – but his lyricism and technical command kept the audience enraptured throughout. The concert concluded with a performance of Richard Strauss’s ‘symphonic poem’, Ein Heldenleben (‘A Hero’s Life’). The orchestra may not have been in a heroic mood, but there was energy at times. Soloists were given a chance to shine, with guest leader Gregor Sigl demonstrating virtuosity and commitment in an extended dialogue between violin and orchestra. The audience was certainly appreciative, but as this gargantuan work of Romantic self-indulgence neared its conclusion I was yearning for the refinement and economy of Mozart, so brilliantly captured by the evening’s star. Tim Foxon |
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