A confident Rachmaninov follows an uneven first half of Sierra and Elgar
Roberto Sierra’s Fandagos from 2000 is a glittering concert opener that will get the feet tapping and tickle the senses. The repeated musical material at the heart of this saucy Iberian-infused opener keeps attention but may over time, given that it feels like the bass line barely shifts, run the risk of driving the listener crazy waiting for a resolution. That said, it’s a fun, colourful crowd-pleasing scene-setter with soloistic splashes and decorative virtuosity peppered throughout. Hindoyan does a good job of conveying theatrics and drama, without which the work could easily be a dull play. Fandangos is one of a handful of Sierra works released by RLPO on Onyx in 2023.
Much anticipation for cellist Pablo Ferrández’s appearance on the Barbican stage. I last heard him perform the Brahms Double with Anne-Sophie Mutter with the LA Philharmonic in Los Angeles last year in what was a powerhouse performance of an epic work that underlined the strength of the pairing, and their love of the work. In London, Ferrández sought to tempt the RLPO’s London audience with a beloved English staple of the cello repertoire, Elgar’s Concerto in E minor. There was a sense that maybe he hadn’t quite grasped the language of Elgar’s writing, rushing the hesitancy that makes up a lot of the first movement, and missing out on some of the gravitas the bold declaratory statements that bookend the work. He played the work; I’m not quite sure I felt the presence it summoned. Ferrández’s sound is full and rich and a treat to listen to, but hurried moments deny us the deliciousness of anticipated moments. In loud sequences, there was an imbalance between solo line and orchestra. Detail was lost in the second movement andante molto too. The third movement reflected the same tendency to rush through each successive statement; some ensemble issues in the fourth movement sealed the deal on what felt like an unexpected disappointment. Regardless, the far less picky audience responded warmly.
Hindoyan and the RLPO in the second half performing Rachmaninov’s simmering technicolour Symphonic Dances was a different proposition, the first movement rooted by a fruity wind sequence introduced by a silky saxophone solo from Carl Ravel. Here Hindoyan brought the intricacies of Rachmaninov’s writing to the fore, the woodwind handing over to a matching string sound in a deft demonstration of ensemble. The strong piano line was a delightfully percussive contribution initially, but did over time feel a little like it might be dominating later in the movement.
Hindoyan resisted hanging around in the second movement waltz that combines grandiosity, a sense of grotesque, and an air of faded opulence. Buzzing violas, growling basses and meandering wind decorated this spectacle, preparing the ground for a taut third and final movement.
This concert didn’t quite move me as a whole, but it marked a notable moment for the RLPO: the first day in post for its new CEO, Vanessa Read. That she’s the first woman to lead the organisation in its 185-year history — and someone widely respected across the industry — makes her appointment all the more significant.
The new season is a varied selection of big hitting musicians and artistic collaborations, premieres, core repertoire, and sophisticated crossovers. The kind of programming that demonstrates the orchestra knows its various audiences. Strong.
