I was cutting things a little fine arriving in my seat panting and sweating just as the first chord of Tchaikovsky’s Overture to Romeo and Juliet sounded. By its inclusion – 5 minutes longer than the billed duration – my heart rate had reduced and my face and neck had dried off. Conductor Yuri Simonov took the work, even in its fast sections, at a surprisingly slow pace so that slow bits felt rather long and drawn out. Consequently, the the yearning and the emotional rushes never really felt convincing. It was as though Romeo’s heart wasn’t really in it and Juliet just felt relieved when it was all over.
Cadogan Hall’s acoustic is arguably the most demanding space to play in. There is nowhere to hide. Errors are then distracting. That’s not altogether a bad thing – it often means a deeper appreciation of what’s involved in a live performance is laid bare and it’s possible to notice when an ensemble has become used to the concert hall with its audience ensconced. So whilst there were some disappointing errors in intonation and ensemble in the woodwind in the first 10 minutes of the piece, that things were consolidated into a richer unified more passionate sound in the final section created something real with a story of eventual triumph. I just would have liked it a little faster.
My probable impatience with proceedings continued in the Rachmaninov. Dariescu is an assured performer – resilient, accommodating and strong. There’s lyricism in her right hand in all the places, and an enviable strength where the score demands. But there were times when it felt like Simonov was wanting to go at his pace and not hers. Some of the energy – that Hollywood verve and brio that I think exudes Rachmaninov’s movie-gold sound-world – petered out.
That said, there were some blissful gossamer string textures in the upper strings during the second movement. The Cadogan Hall acoustic also revealed some pleasing detail in the cello line and woodwind.
At times Simonov paid more attention to the strings than communicating with the soloist. In the second movement this projected Dariescu as a paradoxically lonely figure on stage. This emphasised the pathos of the second movement though I suspect that was by accident than design.