Pinchas Zukerman plays Tchaikovsky and Mozart. Image via Sydney Symphony Orchestra.
Thursday night’s performance of Zukerman plays Tchaikovsky & Mozart was almost the perfect classical concert. The program featured four stellar pieces by two of the most loved composers; the Sydney Symphony Orchestra played brilliantly; and Pinchas Zukerman was superb as both violin solo and conductor. Rarely do all the elements of a performance come together with such elegance and immediacy as this.
The concert opened with two of Tchaikovsky’s most exquisite pieces for violin, Souvenir d’un lieu cher: Mélodie and Sérénade mélancolique. These are beautiful moments of gentle musicality and elegant musicianship with pairs of flutes, oboes, clarinets, and bassoons alongside the strings – leaving the horns to carry the load for the brass section. Tchaikovsky talked of the Mélodie as being ‘a song without words’ and this performance captured that sentiment. Zukerman’s solos were magnificent with a deftness of touch belying his precision.
Tchaikovsky much admired the work of Wolfgang Amadeus Mozart, so it was fitting that Mozart’s Violin Concerto No. 3 in G, better known as The Strassburger Concerto, came next. Now we could see Zukerman in full flight as the conductor, as well as soloist, with his big, warm gestures. The violin solo in the first movement was sheer eloquence and such was the audience’s delight throughout that they couldn’t resist applauding between the movements. The second movement, the Adagio, featured a heavenly combination of muted violins and violas and plucked cellos and basses. It is astonishing to think that Mozart was only 19 when he wrote this Concerto and yet it demonstrates a compelling maturity of musical ideas.
After the interval, it was back to Tchaikovsky and the Symphony No.4 in F minor with Zukerman putting aside his violin to concentrate on the baton. This is a grand, soaring piece, full of drama and emotion and spectacular changes of mood and pace. Again, the work features pizzicato playing for heightened dramatic impact accompanied by the strength of the woodwinds and brass section.
The real highlight of this performance was seeing the special relationship between Pinchas Zukerman and the members of the SSO. The players were clearly exhilarated by his presence and fully engaged in his musical leadership – it was really very special.
And a special mention also to Janet Webb, giving her last performances this weekend as Principal Flute after thirty years with the SSO. It was lovely to see Zukerman acknowledge her contribution. And it was a nice touch to have all the players wearing poppies for Remembrance Day.
The only unfortunate aspect of the evening was the acoustic experimentation being undertaken in the Concert Hall in preparation for the future Opera House Renewal works. The familiar ‘donuts’ had been raised and replaced with large prototype wooden reflectors. These were exceptionally intrusive and visually unattractive and certainly didn’t sound perfect to my ear with some noticeable harshness.
Clearly a venue of international standing should strive for acoustic precision but a concert hall is not a recording studio and the aesthetics are just as important as the acoustics. I can only hope that the final decision pays more heed to the architectural heritage and integrity of the building.
And I do think it unfortunate that the SOH chose to conduct its acoustic experimentation during the performances of a guest artist who is universally recognised as one of the greats of our time. Even so, this will be memorable as an almost perfect concert.
Rating: 5 stars out of 5
Zukerman plays Tchaikovsky & Mozart
Pinchas Zukerman and the Sydney Symphony Orchestra
Sydney Opera House Concert Hall
Three performances November 10, 11, and 12.
Pinchas Zukerman will next appear in Adelaide with the ASO on November 23 – 27.
