In a programme spanning Verdi, Tchaikovsky and Mendelssohn, The Hallé offered an afternoon of vivid orchestral storytelling under Kahchun Wong, crowned by a captivating performance from violinist Akiko Suwanai. What might have been a conventional sequence of classics became, under Wong’s direction, a coherent journey of drama, lyricism and Mediterranean luminosity.
Verdi’s overture to La forza del destino opened with a punchy brass quasi-fanfare that immediately set a dramatic tone. The Hallé’s strings, generously proportioned and bass-rich, interjected with an impassioned entry. Wong embraced the overture’s urgency while never overlooking its subtler contours, allowing expressive and gently phrased woodwind solos to bloom. He found a sense of narrative in the score, one that echoed tellingly in the Tchaikovsky that followed.
The star of the afternoon was undoubtedly Suwanai, whose virtuosity and communicative clarity shone in Tchaikovsky’s Violin Concerto in D major. In the orchestral introduction, Wong exercised restraint. Suwanai’s opening statement emerged with insight and beautifully sustained lyricism. As the first movement unfolded, her attention to detail was remarkable: each note felt cherished, phrases carried graceful shape, and articulation remained exquisitely controlled. Wong maintained an undercurrent of energy, and, taking Suwanai’s lead, the two gradually pushed the impetus forward, driving into the fast lane and creating an enthralling ride. From its lowest register to its highest, her ‘Charles Reade’ 1732 Guarneri offered a breathtaking range of tonal colour. Suwanai’s stage presence was poised and understated – never theatrically demonstrative – yet she commanded the stage entirely, most notably in a finely sculpted cadenza.
The Canzonetta that followed possessed a balletic quality, drawing out muted colours. Though on the brisk side, Suwanai maintained clear direction and crafted eloquent phrasing, turning even repeated notes into a masterclass in sustaining long-line interest. The Allegro vivacissimo finale had undeniable drive, although not unrelentingly so; Wong again took his cues from the soloist, both using rubato to telling effect, fireworks abounding. As an encore, Manchester was treated to the Gigue from Bach’s Violin Partita no. 3 in E major, in which Suwanai once again dazzled, her technical flair matched by the control and insight needed to bring out its polyphonic lines.
Mendelssohn’s vibrant blast of Mediterranean sunshine – such a contrast to a late-autumn Manchester afternoon – closed the concert with his Italian Symphony. Wong’s vision was clear, conducting without a score and often stepping back to let The Hallé revel in its vivid colour and infectious energy. The opening Allegro vivace felt like a drive through the Lombardy countryside; the slow movement led us to Papal Rome and Naples with gentle expressivity. An elegantly rendered Menuetto gave way to an invigorating Saltarello: driven hard, bursting with detail and alive with sharply etched dynamic contrasts.
