Schumann, Liszt, Beethoven, Rossini
The young Georgian pianist Khatia Buniatishvili packed the Great Festival House in Salzburg this evening for her concert with the Orchestra of Italian Switzerland. Her performance of Schumann‘s piano concerto – simultaneously sultry and driven – demonstrated how she has achieved her current star status.
Schumann’s tedious concerto has fine musical moments, but normally drags (Schumann basically extended a fantasy he had written earlier without any new inspiration). The orchestra, and conductor Markus Poschner, could not do much about that, nor did they (and it showed especially when the orchestra played without piano). But Buniatishvili pieced together the moments, engaged the orchestra in dialogue, and made one of the more plausible cases for this work that I have heard.
Then she barged out for an encore: Liszt‘s Hungarian Rhapsody #2 – this is a wild work when played by an orchestra, but Buniatishvili played it tonight as a piano transcription, meaning that she also had to capture the missing orchestral parts, and then she did all of this at breakneck speed for a remarkable display of digital acrobatics on the keyboard. A second encore, something late romantic which I did not recognize, was more sedate and probably necessary to allow the audience heart rates to drop a little before the intermission.
This orchestra is barely larger than a chamber ensemble, so the sound was neither full nor lush enough – especially without Buniatishvili on the piano. Some of that became less problematic given the choice of music after the intermission: Beethoven‘s Symphony #3, an exceptional piece of music, that Poschner seemed in general to understand for its drama and the orchestra picked up with gusto – and while thin, Beethoven’s music adeptly interpreted more than compensated.
It’s not a bad orchestra, but it did have the timbre of an original instrument ensemble (which it is not – except for the trumpets who played on cumbersome valveless trumpets that required them to constantly insert different-length tubes much to what looked like permanent frustration on their faces). Only the woodwinds (and especially the fantastic oboist) produced properly rounded sounds. Poschner also took the first and second movements far too fast (presumably he followed the nonsensical markings Beethoven mistakenly jotted on his scores later when he was given a defective prototype metronome).
The orchestral encore – the overture to the Barber of Seville by Rossini – came off somewhat better. This is supposed to be a fast work, so the reading was far more idiomatic. Again, Poschner’s and the orchestra’s sense of drama provoked solid music-making, and as a comic opera overture the thinner orchestra did not detract, but indeed kept it appropriately light and exuberant.