Music / Bournemouth Symphony Orchestra
Review: Bournemouth Symphony Orchestra: Russian Dance, Colston Hall
The Bournemouth Symphony Orchestra was back at Colston Hall for a night of Russian Dance: Glazunov, Beethoven and Tchaikovsky in a programme that promised an exhilarating evening.
Glazunov’s From the Middle Ages Overture was overflowing with emotion. The BSO’s sound is vast and rich: it was as if Glazunov had written for this, especially attuned orchestra, who excel at breathing the soul into music. Conductor Kirill Karabits let the ensemble fly – a few choice, crisp cut-offs were all that was required.
The main act of the night was pianist David Fray, performing one of Beethoven’s most-loved works, his Piano Concerto No. 3. The precision of the orchestra in the iconic opening of the work was a testament to focus and control – but the talents of the ensemble sank into the background at Fray’s entry. Hunched over the piano, his eyes never leaving his fingertips, Fray brought out Beethoven with a devotion that was almost religious.
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His solo entry to the second movement was impeccable: the silence captured between the notes; the heaviness of the chords; the exquisite hush of the audience at the most delicate of pianissimos – this was a performer who played so naturally it felt as if the music was flowing from him. The third movement was a whirlwind of virtuoso extravaganza – the orchestra were left fighting to keep up with the blazing trail of Fray’s performance.
After the fire of the first half, Tchaikovsky was left with a lot to make up for. His Suite No. 3 is a charming piece, showing off the talents of the orchestra, who’s depth of sound made up for the lack of excitement. Beethoven is a difficult act to follow: the BSO outplayed themselves this time, but it was all worth it to experience the music-making of David Fray.
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