Rimsky-Korsakov, Sibelius, Bach, Schubert, Khachaturian
The Armenian State Youth Orchestra performed at Yerevan’s Khachaturian Hall this evening, under the baton of Maxim Vengerov. The hall was packed to overflowing, with the standing-room audience even crowding all of the aisles. Judging by the number of close protection agents, I assume there were also a lot of government officials in attendance.
Students from the Yerevan Conservatory make up most of the members of this orchestra, supplemented where necessary by members of the Armenian State Philharmonic. By my observation, the Conservatory must only train students in a limited number of instruments, since half of the woodwinds, all but two of the basses, and the entire brass and percussion sections were clearly not students. That said, the orchestra – including its student sections – sounded reasonably good. Another oddity: the student strings (i.e., violins, viole, celli, and two bassists) were obviously trained to sway together like grain in the wind – I know that most orchestras have the strings bow together, but this swaying business was disconcerting. Two violinists did not get the memo: the second row second chair sat immobile and stared intently at his lap when he played and a woman several rows back swayed completely out of synch with everyone else.
Vengerov seemed to want to protect the students from being overwhelmed by the adults, so he muffled the brass. This worked for the piece after the intermission – Rimsky-Korsakov’s Scheherezade – since the strings lead that work, and their sound represented the waves surging and crashing. It did not work so well for the concert’s opening work, Rimsky-Korsakov’s Russian Easter Festival Overture, where Vengerov did not permit the brass choirs to soar.
Between the two Rimsky pieces on the program came the Sibelius Violin Concerto, with Jaroslaw Nadrzycki, a young Pole with bizarre technique, as the soloist. Instead of holding the violin diagonally under his chin and bowing across his body, Nadrzycki held the violin parallel to the floor, stuck his elbow high in the air above his head, and fiddled from above. I do not know if it was the technique, or some other lack of talent, that produced the thin and sour tone. The concerto dragged on like this for half an hour. If Vengerov were going to trot out a young soloist, it is a shame he chose this one instead of showcasing a local Conservatory student – indeed, from the brief violin solos in the Russian Easter Festival Overture, the concertmistress may have been a good choice. At the very least, he could have let her play the violin solos in Scheherazade, but he brought Nadrzycki out for that too, marring those sections.
For encores, we got three. One came before the first intermission, when Nadrzycki played an arrangement for solo violin of Schubert’s Erlkönig. This arrangement seemed designed to maximize showmanship and fingering, and to minimize emotion. The Erlkönig might as well have taken the child and been done with it.
At the end of the second half of the concert, Vengerov came out on stage with his own violin, and teamed up with Nadrzycki and the student strings for the largo movement of Bach’s Concerto for Two Violins. Vengerov’s sweet and sensitive sound contrasted with Nadrzcki’s tones.
As a final encore, Vengerov knew how to bring the audience roaring to its feet: the Lezghinka from Khachaturian’s ballet Gayaneh. For this, Vengerov unleashed the hounds, and the orchestra – especially the wild percussionist – played without restraint.