Tschaikowsky, Saint-Saëns, Kobekin, Khachaturian
For the second night in a row, the 25-year-old Russian cellist Anastasia Kobekina outshone an entire orchestra. She brought the Saint-Saëns first cello concerto to Salzburg’s Great Festival House – like the Tschaikowsky Rococo Variations last night, a work that itself never really went anywhere. But the music did allow Kobekina to showcase what she could accomplish with instrument. As yesterday, I found in her playing a cross between Steven Isserlis and Mischa Maisky – fantastically adept and nuanced playing with a gorgeous tone spanning the range from below the normal scale to way above it.
The Berlin Konzerthausorchester essentially stayed out of her way – just enough there, under the expert leadership of Dmitri Kitayenko, to provide the necessary background for Kobekina, but no more.
Kobekina followed up the concerto with a piece her father Vladimir Kobekin wrote for her: Fantasy on a French Theme for Cello and Tambourine (performed with one of the orchestra’s percussionists). This was a 21st-century rewrite of a mediaeval dance, not losing the original formal dance but adding on top of it new sounds and techniques in a clever and multi-faceted whole and allowing her to demonstrate her entire range of styles in a thrilling manner.
As for the rest of the concert (Tschaikowsky‘s Manfred Symphony before the intermission, and three excerpts from Khachaturian‘s ballet Spartacus to conclude the concert): my assessment of this orchestra remains the same from last night. They are generally emotionless, although in some of the bigger passages (essentially parts of the final movement of Manfred tonight and of Rachmaninov’s 2nd yesterday, as well as some more active parts of the ballet selections each evening) they did throw themselves into the music more. But generally they lack passion. Kitayenko is a very restrained conductor, but was clearly trying to craft an expansive sound; the orchestra followed and was technically pretty good (except the woodwinds again, who have neither a pleasant sound nor the harsher but idiomatic tone taught in Russia) but basically went through the motions. The horns and percussion again stood out in a good way, as did the harps this evening, and the rest of the brass was decent, but otherwise the orchestra just came off as generally lacking soul.
The orchestra gave no encores either night, not that the audience wanted any. This concert program repeats tomorrow – without me in the hall – as the orchestra concludes its three-night visit.