Rachmaninov, Chopin, Bizet, Bellini, Rossini, Donizetti, Saint-Saëns, Puccini, Cilea, Sorozábal, Giménez, Khachaturian
The Russian National Philharmonic Orchestra under music director Vladimir Spivakov dropped into the Khachaturian Hall this evening, as part of its tenth anniversary season celebrations. This orchestra was created essentially as the house orchestra of Moscow’s International House of Music, that bizarre Escher-esque building with the awful acoustics where I attended one concert (not this orchestra) and never went back again. So, since I completely managed to miss hearing this orchestra (not to be confused with orchestras having similar names) during my time in Moscow, I finally got to hear them now in a different hall.
Incidentally, it seems that in Moscow they no longer perform exclusively in the International House of Music, but schedule a significant minority of their concerts in the Moscow Conservatory Great Hall, with its top-notch acoustics. I suppose they too regret their link with their home venue.
According to the orchestra’s website, they were supposed to do two concerts in Yerevan, followed by one in Gyumri (Armenia’s second-largest city). The posted programs for Yerevan were an exclusively-Rachmaninov concert and an opera gala. In the end, they combined the concerts into a single one in each venue (abridging the Rachmaninov to a single work). This produced a bi-polar evening.
Before the intermission, the young Ukrainian pianist Aleksandr Romanovsky joined the orchestra for the Rachmaninov Second Piano Concerto. While dexterously maneauvering through Rachmaninov’s score, he also tried his best to get a sweet sound out of the Khachaturian Hall’s sour Steinway. In this, the orchestra assisted him with some exceptionally warm playing, particularly from the woodwinds. Afterwards, Romanovsky treated us to a moving encore rendition of Chopin’s Nocturne opus 20.
After a long intermission, the orchestra returned for a full 90-minutes-worth of opera excerpts (from operas by Bizet, Bellini, Rossini, Donizetti, Saint-Saëns, Puccini, and Cilea, and from zarzuelas by Pablo Sorozábal and Gerónimo Giménez), joined by mezzo Juliette Galstian and soprano Hasmik Papian (both Armenian stars), and by baritone Vasily Ladyuk (a dynamic Russian). The second portion of the concert had a spontaneous feel, in part because they did not keep to the printed program but added or subtracted arias or orchestral pieces independently of what was on the page. Clearly they were having fun. All three of the soloists demonstrated a sense of drama – or at least as much drama as they could muster with the arias taken out of context (and considering that the solo parts were all individual arias, so the program never allowed the three singers to interact with each other, which was unfortunate). The orchestra, too, gave spirited accompaniment for the soloists, while also demonstrated its own spirit for the Carmen overture and intermezzi from Manon Lescaut and La Tabernera del Puerto, culminating in – as an encore – the Lezghinka from Khachaturian’s ballet Gayaneh.
Although the playing was quite beautiful, the second half of the concert had the feel of a long set of encores, one after another, never really going anywhere. By the time of the real encore, the orchestra’s playing had simply lost much of its spontaneity. Yes, they played all the notes well, but no they were no longer showcasing themselves despite the boisterous music. For a brief visit on tour, Spivakov and his orchestra should have selected their program more wisely.